Romeo and Juliet

Shakespeare’s classic tragedy of two lovers from opposing families presented by The Pranksters had the utter joy of a superb setting for this production in front of a Bandstand with the Guildford Castle keep behind and gardens all around. The setting was used to perfection, with the bandstand transformed into the Capulet-owned, Ice Cream Parlour, La Dolce Vita, frequented by all of the town under the watchful eye of the local Mafia boss.

The audience were set out on a gentle slope, with garden and large trees all around on a warm summer's evening, with clear skies and bright moonlight towards the end. The birds and pigeons in the trees also added to the atmosphere. An open air theatre setting really doesn’t get much better!

The bandstand is quite brightly coloured and, with a small addition of a sign, was immediately transformed into a most convincing Ice Cream Parlour. It has the benefit of entrances for staff and guests and as such it was a very versatile use of the existing space. The Bandstand was extended by a shallow raked stage which afforded great views. Juliet’s Balcony was portrayed with our heroine up a ladder and separate, low rostra formed the bedroom and tomb. The large trees and low paths adjacent to the bandstand were also integrated concealing entrances and provided walk-by moments and a variety of entrances throughout. As the scene moved to first the bedroom and later to the tomb, these were set quite low and it was somewhat difficult to see all the action, another foot or two of height would really have helped.

The restaurant had some bistro style tables and chairs and a lovely vintage jukebox to complete the scene, ice cream sundaes and Italian coffee were served and consumed!  In keeping with the period, swords became flick knives for the fight scenes.

Lighting was simple and effective and able to flip between the main stage and the bed area, with all the faces being well lit. We had a wonderful accompaniment of bright moonlight for the final scenes in the tomb which certainly created the right ambience.

The provenance of the families was identified clearly by the use of reds and pinks for the Capulets and blues for the Montagues, with some period to the costumes, though possibly one or two betraying their slightly more modern roots! Other characters were dressed in alternative colours with the Prince identified as the Mafia boss. So clarity of who was with who was really easily understood and interpreted.  Hair and make up complemented the look.

The setting and ambience created by the staging, and in particular by the use of period-appropriate music, selected from the parlour juke box were very evocative, and utilised several times in appropriate scenes, both at the start and at the masked ball, and to punctuate some of the more humorous moments. Volare, That’s Amore and Quando, Quando Quando all making an appearance keeping up the Italian feel. With appropriate mambo style dancing choreographed in.

This was a well cast show, Romeo (Michael Thonger) and Juliet (Chloe Skidmore-Lewis) were very well matched and believable. Juliet in particular gave a calm and studied performance. The whole ensemble were strongly and creatively directed by Jen Haynes, who had clearly thought through all the significant details.

This was evidenced, not only in the major scenes, tenderly driven by the two capable leads but also some nice direction and use of even the smallest of parts. Operating throughout, there was a lovely touch delivered by the paparazzi photographer and his assistant, chasing round after the fight scenes and deaths, and at the party to take pictures of the local celebrities. Another nice cameo was delivered by Alice Walsh as the short-sighted waiter, adding a charming comic touch in the restaurant scenes too. 

The comedy also provided other highlights, particularly the scene between Mercutio (JP Judson) and Juliet’s Nurse (Mandy Scully), who played beautifully off each other and with great timing and facial expressions. The interplay between the younger men was reminiscent of students after a college ball, and conveyed naturally and lead into a well-choreographed knife fight and death of the angry and aggressive Tybalt (Joe Hall). 

Father Lawrence, played by Jonathan Arundel, lifted the second half which gathered more pace. He had great stage presence, excellent delivery and timing, sincerity and humour and gave a faultless performance. 

A thoroughly enjoyable and well-presented evening, with a strong cast in all roles, in a beautiful spot, that I would definitely recommend, well done Pranksters.

© NODA CIO. All rights reserved.