'Romeo And Juliet', one of Shakespeare’s more commonly produced plays (second only to 'A Midsummer Night’s Dream'). Everyone knows the story of two star-cross'd lovers from rival families in ‘fair Verona’, yet Nicholai La Barrie’s direction has brought the tale crashing into modern day Manchester. Shakespeare’s language rolls off the Mancunian tongues of the performers and gives the world’s most well-known love story an edge that is refreshing and honest; seemingly a homage to Manchester and its residents.
In La Barrie’s version we see Stanley knives concealed in purses and poison acquired via a dubious modern day drug deal. Also in this 21st century reimagining, our Juliet (played by Shalisha James-Davis) is not an innocent, delicate young woman; but rather a strong-willed lady who knows what she wants and isn’t immediately swayed by Romeo’s declarations of love. This gradual growing of affections takes the character and the audience on a journey. This version of 'Romeo And Juliet' becomes a love story for the modern day.
Despite the play’s three-hour running time, the actors were engaging and striking throughout. James-Davis as Juliet and Conor Glean as Romeo created a fiery chemistry on stage that was almost too intense to watch, the audience felt they were imposing on very intimate moments intended for our two lovers only. David Judge’s Mercutio was also spell-binding and extremely watchable and he felt comfortably at home within the language of Shakespeare, as well as fully embracing the Mancunian tongue within the lines.
Kev McCurdy’s fight sequences were precise and tense, and the deaths within this production were in no way drawn out or cheesy, as they have a tendency to be with Shakespeare. These moments of extreme violence were coupled with, as mentioned above, moments of extreme intimacy and passion. Bethan Clark, the production’s intimacy director, along with James-Davis and Glean, succeeded in producing woops from the audience during the ‘racier’ moments of the show.
This show was a feast for the senses; Good Teeth’s stage design along with lighting from Azuna Ono and sound from Mark Melville, succeeded in creating an almost cinematic experience in which the viewer is totally immersed within this Mancunian city presented on stage. From the use of modern day northern music such as ‘Elbow’, to the drizzly rain so synonymous with Manchester during the funeral scene, my eyes were fixed throughout.
At many points throughout the show, the cast engaged with the actors. The play began with a feud between what seemed to be a member of the audience and an usher (very believable for this day and age). The audience member then walked out onto the stage and began the opening monologue. During the soliloquies, at many points they were spoken directly to audience members, as if having an intimate chat or imploring their advice. The party scene during the first act had audience members up and dancing in their seats along with the principle cast and their ensemble company.
This production had audience members laughing from the first few scenes, and then gasping and weeping by the end of the second act (which is no easy feat considering everyone in the audience probably knew the play’s ending). You think you know Romeo and Juliet? Think again. La Barrie’s production is refreshing whilst also honouring Shakespeare’s classic language. If you are a Mancunian, come and see this love letter to your hometown.
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