Romeo & Juliet

Congratulations are in order whenever a drama company seeks to perform works by our greatest playwright. The group is also to be encouraged when it seeks to give it a twist which will bring the piece to a new audience. Athenaeum Limelight Player’s intention to bring one of the best loved of Shakespeare’s plays to their members and audiences was most praiseworthy but to entrust the effort to two young people was truly amazing. Many companies, unfortunately, baulk at placing such trust in youngsters, but this production was an example of how successful entrusting performances to enthusiastic and energetic youth can be.

The whole concept of the presentation was well thought through and planned with care. From the display of cast photos in the Foyer to the concept programme everything was in keeping with the main thrust of the production. Of course, one of the beauties of doing Shakespeare is its numerous opportunities for individual interpretation based on its innate timelessness. Added to this was the Directors’ admitted obvious love for the Luhrmann film which had inspired a number of personal touches.  This concept certainly placed the delivery right in the face of the audience and dragged everyone through extremes of emotion.

The staging was dynamic with every possible element being utilised to assail the senses. There was some dramatic use of vibrant colour to match the multi-varied sound-scape. Particularly impressive was the juxtaposing of colours in unlikely combinations added to the use of varied fashion styles. Some of these were more successful than others. 

The party scene was certainly opulent and increased the sense that the senior Montagues & Capulets were far too interested in their own lives to notice the disaster about to envelope them. The very relevant issue of parents being too obsessed with their own problems that they fail to notice the problems among their children is one which Shakespeare so perfectly deals with throughout this play leading to the dramatic conclusion.

The large number of young people in the cast was a huge advantage which was efficiently exploited. The rival “gangs” were well populated.  Some excellent character preparation had obviously taken place freeing the actors to get on with things. Character traits were well followed through making each character easily recognisable and situations perfectly acceptable. Here the smaller roles were so well made that the major protagonists were always well supported. Scenes had depth throughout and even the “extras” were helping to tell the story. With performances of Shakespeare this can so easily be forgotten in the love for the poetry, the rhythm and the nuances of the lines. There was no such mistake here as everyone assisted in the clear telling of the story.

Excellent use was made of the space with different levels and exciting use of curtains and cloths. Once again attention to detail in the use of colour, lighting and props made each scene so alive (e.g. the unbelievable collection of herbs & potions in Mother Laurence’s cell). The use of gauze and candles towards the end of the play certainly tugged at the heart-strings adding extra atmosphere to the emotional sacrificial death of the lovers.

With a full-length performance or, as in this case, a heavily abridged version what is going to be vital is a clear delivery of Shakespeare’s wonderful text. This is where this particular production raised the game. Time and effort had quite obviously been spent working the text. Voices were agile and resonant with articulation well manipulated while not being exaggerated. This allowed the delivery to be perfectly normal and immediate without a touch of “hallowedness” while remaining respectful of the author’s intentions. In any performance of this play the naturalness of the younger characters is so important to the piece having any ability to make people think, and this portrayal certainly achieved this excellently.  Words were generally clear and audible. Except with a couple of characters voices were natural and easily assimilated. Work with Michael Corbidge obviously inspired everyone and had been successfully followed-up throughout the rehearsal period. Because of this no one could say that Shakespeare’s lines were not well spoken.

The impression given was that these actors and their technical support enjoy Shakespeare and that the audience should enjoy his work too. If the presentation is fun for the performers and crew then the audience will enjoy it as well. So many of the necessary boxes were ticked, particularly in delivery of the lines, storytelling and naturalness of characterisation, that it would be hard to fail, but some companies would still have messed up. Athenaeum Limelight Players certainly did not mess up but brought an exciting play to a thankful audience in an exuberant and modernistic manner. The choice of author was challenging and even risky, but the whole came off really successfully. A great night was had by all.                                                                   

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