Greenwich Theatre's in-house summer production of Romeo and Juliet is supposed to be a celebration of the LGBTQ+ community in lieu of London Pride earlier this month.
In reality, the celebration seems thinly proportioned. The only appreciation is the gender change of Romeo to create a same-sex relationship rather than the heterosexual classic. However, beyond this, there is no angle or creative adaptation that involves the poignancy the LGBTQ+ community deserves.
The concise cast of 6 multi-roll the 3-hour discourse with a few musical interludes to excuse scene changes and attempt to create an atmosphere lacking from the content.
Beginning with the execution of the opening fight scene, choreographed by Kaitlin Howard, the tension is non-existent; the stage combat is poorly performed and undermines the friction between the 2 houses.
The character development going forward is equally as underwhelming, with little affection formed for the protagonists, who have very weak vocal performances and a disinteresting use of verse.
Romeo, played by Blossom Timothy, finds a vocal and emotional level that plateaus imminently. Similarly, Juliet, played by Ava Honey, finds little nuance. Equally, supporting characters Nikita Johal (Mercutio) and James Aldred
(Tybalt) struggle to communicate an engaging story. Johal's Mercutio is like the annoying friend you wish would leave you alone, and Aldred's Tybalt is anything but threatening.
There's a saving grace in Friar Lawrence, played by Charlotte Harwood, who has a greater command of the text and emotional connection. Furthermore, Harwood's portrayal of Lady Capulet is excellently pitched with some of the only evocative dialogue alongside Lord Capulet, played by Matt Penson. Penson and Harwood manage to find engaging multi-rolling characteristics that elsewhere are lacking and Penson's harmonica skills are delightful.
The momentum of the tragedy never builds, defying the natural driving rhythm of the text, culminating in the crass death of the protagonists that appear amateur dramatic.
Artistic director James Haddrell's production is uninteresting and never reaches the expected heights of the tragedy.
Review: Sebastian Calver Photo: Ross Kernahan