Credit: Johan Persson
Written by William Shakespeare
Directed by Nicholai la Barrie
Royal Exchange Theatre
This 400 year old tale of star-crossed lovers hits the rainy streets of modern day Manchester and as young love burns bright it reminds us all what a heady and dangerous drug it can be. This is no desolate, grimly passion-fuelled tale of doomed romance but rather a celebration of hope in the darkest moments where the human spirit always finds a way to flourish and defy even in death itself. By placing Shakespeare in Manchester and celebrating local people Nicholai la Barrie brings a fresh and urgent energy to his words. The dark and wickedly sly retorts of a Manc on form are perfect for Shakespeare. Even when some sobering lines sound like they are played for laughs it feels more resonant of the local people and their capacity to wield a rapier sharp retort as easily as a Stanley knife. This works especially well with David Judge‘s perfectly pitched Mercutio and Gemma Ryan‘s slovenly Nurse.
There are some great performances with changes to the original script that now see Lady Capulet (a suitably steely Kate Hampson) as a single mother and a gritty Northern matriarch overseeing her clan. The most sweeping change might have been to save Mercutio and allow for for more of David Judge on stage but that may have sent Shakespeare spinning in his grave! He gives a compelling performance and his fresh twist on Shakespeares’ poetic words land perfectly sounding like a Manc street poet as he raps out his lines. Geoff Aymer is excellent as the meddling Friar Lawrence. There are some striking casting touches with Ashley O’Brien as a intimidatingly tooled up Tybalt while the tics and twitches of neuro diverse actor Adam Fenton give additional menace and edge to his Benvolio.
The two central character feel fresh and energetic in their roles as Romeo and Juliet. Initially Conor Glean did not feel like a Romeo I could get on board with but as his scenes develop there is real depth to his Romeo. Impetuous and foolhardy he may be but the depth of feeling he has for Juliet is never in doubt…even in his initial flinch at the prospect of marriage there is also an openness and generosity of heart to ensure he gives his Juliet what she needs from him. The raw pain he exhibits as he cradles a dying Mercutio is absolute and throughout the second Act he continues to grow in the role. Shalisha James-Davis makes for an vibrant Juliet. She brings a fresh look at this girl and fleshes out her ageless appeal…not just a pretty innocent girl but a feisty and spirited young woman with a passion for life and love that more than meets that of her Romeo. When she insists on marriage this is less about convention and more about knowing her own worth and valuing herself.
Credit: Johan Persson
The sparse staging is more scorched earth than Northern cobbles but the speakers littered around the stage certainly feel like old rave parties or Moss Side carnival. In the Royal Exchange it would be easy to imagine a balcony scene staged from the circle but instead designers GOOD TEETH have the balcony descend from the heavens. The party scene becomes a rave party with a feisty confident Juliet at its core on a raised platform that defiantly marks out Capulet territory. The music ramps up and five disco balls create a kick ass party where a supernumerary cast fill up the stage and audience members are joining the dancing throng. Later the funeral scene for Juliet sees a sea of black umbrellas providing shelter from the driving rain as the heavens weep to the sound of Elbow‘s Lippy Kids. Some might see possible dramatic overkill whereas I hope it was a homage to L.S. Lowry and to the Manchester music scene.
Director Nicholai la Barrie pulls out all the elements of this timeless tale that still feels fresh and relevant. Whether it is in Verona over 400 years ago or modern day Cheetham Hill there will always be impetuous young lovers and opinionated parents trying to steer their children a certain way. Sparring or killing whether with rapiers or flick knives will always result in devastated families and wasted young lives. The enduring resonance of Shakespeare is however his use of language. Whether in Received Pronunciation or in a Manchester accent it is his ability to capture and summarise the human experience in such a perfect and beautiful manner will always bring joy. This Romeo & Juliet certainly brings the joy.
Live Art Alive 