Monday 18 July 2022

THEATRE REVIEW: Romeo And Juliet - Grosvenor Park, Chester


Approaching the tepees in Grosvenor Park on a balmy summer evening was a perfect segue from the real-life working week to a magical world. Bunting, festoon lights and warm smiles greeted the audience, who arrived with blankets and picnic baskets. The theatre itself is an open air, arena style and unlike many park productions there is stepped seating and back supporting cushions provided. Duly fed and watered - nursing a glass, bathed in sunsetting rays - the audience were brought to attention by the entrance of the company. They were a strong and demanding presence – with eye contact, sheer purpose but no words, they silenced the crowd, took a collective breath, and began, toppling us into 1950's Italian cafĂ© society with a rendition of ‘When Two Tribes Go To War’ (yes, really - and it worked!) The music (arranged by ME+Deboe and delivered by the cast members) was particularly skilful throughout – acoustic, folk-inspired adaptations of an eclectic but effective mix of popular hits punctuated the action, enhancing emotions and moving the story along. 

‘Romeo And Juliet’ is possibly the best known theatre performance of all time – retold and reinvented over and again in its 400+ year lifetime. This version felt fresh, light, and contemporary, the costumes were glamorous recreations of 1950's fashion, right down to Juliet’s underwear. The original text was padded and embellished with beautiful physical moments including dance, street fights and personal business which allowed air to move between the dialogue and heightened the anticipation of the audience. Much of this unscripted action subtly encouraged the focus to fall sharply on the lovers. No-one could pretend that the unravelling fortunes of the rebellious pair come as a surprise – but this production approached the significant moments confidently and with a deft touch. They weren’t rushed or over-emphasised, delivery of the famous lines was as natural as the rest – portraying a playful, sincere pair of teenagers. The balcony scene was a delight, filled with teasing, smiles and kisses - with great use being made of the blurred barriers between performers and audience that in-the-round staging offers. Samuel Awoyo’s Romeo celebrating his romantic success with a casual fist pump cemented him as a modern-day, relatable hero.

The dialogue throughout was delivered in a relaxed and natural style - particularly by Awoyo and by Eddy Payne (Benvolio). Payne’s was a superb performance – he brought out the best in his fellow actors and his delight in his craft sparkled. He was often the centre of comedy in the first act, enlivening the party scene and teaming up with Haylie Jones’ Mercutio to taunt Romeo. Another source of comedy was Nicola Blackman’s portrayal of Nurse – a sassy, outspoken, unabashed Caribbean woman with a twinkle in her eye. Her adlib moments with the audience were saucy and full of merriment. In fact, much comedy and interactive audience teasing was brought out of Act 1, occasionally at the expense of the story but always with a joyous sense of mischief. Not least of these was the drunken procession at the end of the party scene where limbs and prosecco went flying, dousing audience members in passing. This meant that the performance became very much a play of two halves as we re-joined the story after the interval to witness the Friar and Nurse desperately attempt to choreograph a dance to evade destiny.

The second act was a more serious affair with less inter-play or ad-libbing. It was here that Joelle Brabban, as Juliet, came perilously close to stealing the night. Thanks to her beautiful interpretation in Act 1 of an innocent feisty teenager willing to fall in love with abandon, not just Romeo but everyone in the audience was in love with her. The moments that followed her first ‘death’ were entrancing – Lady Capulet and Nurse transformed Juliet’s bed to her bier (a simple but incredibly effective staging choice) while the company transformed the stage to a beautiful burial ground scattered with fairy-lit, white crucifixed headstones. By now the real-world sun had almost set and the simple stage lighting, mingled with the twilight to elicit an ethereal beauty fit for the tragic finale. Romeo’s fight with Paris before he entered the tomb gave us a final frisson of violence to offset the pathos. There was a palpable sense of fear for the place which brought a newfound admiration of Juliet’s courage to have played dead amongst the bodies of her ancestors. Awoyo and Brabban handled these closing moments with finesse.  Their fear, grief and loss were never overplayed and in turn their deaths were performed with poise and emotion. 

As the action dissolved into the curtain call, the cast accompanied their bows with the by now, distinctively styled ‘Everybody Wants To Rule The World’ and the audience applauded, cheered, and stood to render their thanks for a wonderful performance.

This was my first visit to Grosvenor Park Open Air Theatre – on the strength of it, I am already booked for their adaptation of Little Women. Here is a company with a beautiful venue, a strong cast, and a clear vision of how to entertain an audience – long may they prosper!

Reviewer - Justine Sutcliffe
on - 15.7.22


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