Set in the stunning historical walls of Wilton Music Hall, ‘Romeo & Juliet' tells the classic Shakespearean tale of the two star-crossed lovers. Directed by Henry Maynard, this particular iteration plays upon movement and music to portray the romance and tragedy of such a beloved story.
The choreography (directed by Matej Matejka), for me, was a defining feature of the entire performance. The puppet-like movements of the actors, combined with the classic clowning costumes and makeup, really helped to make performances feel like more of a dance at times. The choreography was fluid and lyrical, to an almost mesmerising extent.
This production certainly features a few standout performances, most notably Simon Gleave in the role of Mercutio, and Vyte Garriga in the role of Nurse. Garriga is seamless in the way that she manages to inject moments of humour and ridiculousness into scenes that are otherwise heavy. She's cartoonish and yet somehow still warm and tender. Gleave, on the other hand, is camp and foolish, yet still a powerhouse to behold. His performance is captivating and colourful and he makes a true mark with every word that Mercutio speaks.
Sound production (composed by Nick Hart) was both a highlight and, at times, a hindrance. There were moments where backing tracks were used and, unfortunately, it did make dialogue tricky to hear. The party scene, in particular, was fun to watch but the music became just slightly too loud for me to really appreciate Romeo's monologue properly.
However, the usage of live music throughout the production plays a huge part in creating moments of true beauty and terror. The cast would flit in and out of character to provide live opera-esque vocals and eerily tinker with various instruments. Timed with some of the play's most dramatic scenes, this really helped to build a hauntingly beautiful atmosphere.
Overall, Henry Maynard's ‘Romeo & Juliet' is a brave and memorable take on a well-loved classic. It's emotional and imaginative, with a lingering hint of the uncanny.
It runs until 21 June. Tickets: here.
Review: Bethany Chandler Photo: Michael Lynch