Skip to main content

"In love with night..." and twilight: Melbourne Shakespeare Company's ROMEO & JULIET

"All the world will be in love with night..."
Melbourne Shakespeare Company's Romeo & Juliet
Burke Photography
Two households, both alike in dignity, in fair St Kilda, where we lay our scene… 

In amongst the rose bushes of the St Kilda Botanical Gardens, two families are at each other’s throats and two lovers are falling for each other. The audience is separated into two halves, like the congregation at a wedding – one side the Montagues, one side the Capulets.

We are welcomed by a pair of Friars, Laurence and Mary, and a small band of musical players – a trumpeter, a pianist and a third on banjo. A rotunda sits in the middle of the garden and is the main focus of the performance space for Melbourne Shakespeare Company’s Romeo & Juliet.

Outdoors in Melbourne can bring all sorts of drama, especially in the transition between seasons. Yes, it’s summer now, but the city can threaten storms even after blisteringly hot days. Sunday was mostly overcast and threatened to rain – and that was the backdrop when we sat down for this production on Sunday evening. The sun was two hours from setting, but the dramatic black clouds in the distance suggested storms on the horizon for these star-crossed lovers.

This production isn’t the original text; it’s Shakespeare by way of Baz Luhrman - though not his own Romeo + Juliet. This felt more like Moulin Rouge, modern songs used to elevate the mood, heighten the tension and amuse when deployed in an oddball context. The Montagues and the Capulets engage in Shakespeare’s classic taunts – they do bite their thumb at you, sir, but their song and dance battles reminiscent of West Side Story, also inspired by Shakespeare’s tragic lovers.

The comedy gets the audience on side early on; we’re amused by anachronistic music and local references. But we’re also treated to a female Tybalt (Emily Thompson) and a female Benvolio (Carly Ellis, who steals the show each time she’s on stage, especially post-party, when she’s recovering from a hangover). Another treat is Tref Gare’s doubling as the police Inspector and his show-stopping turn as the Nurse with a comically Scottish brogue.

This show hits all the romantic plot beats, but it chooses to slice out the political familial machinations. Montague and Capulet are tyrannical parents for their children to rebel against and that’s enough here. They are figures of fear, if not fully realised characters. But that’s fine; this production is light and accessible and full of inventiveness for most of its length.

Adapting Shakespeare, particularly cutting it down, is a tricky business. Turning much of Romeo & Juliet into a raunchy comedy, with matching slapstick, makes the dramatic turn a little harder to buy. Some of the local references took away from the dramatic moments; St Kilda feels like a suitable stand in for Verona, but as Mantua, Pakenham is too much of a distracting laugh line.

And yet, even if the cleverness of the production faded into the background, as the dramatic pieces started to fall into place, the power of the tragedy remains palpable. The audience got quieter. The ensemble pulled back from earlier antics. And Matthew Connell and Joanna Halliday, both striking in the central roles, take centre stage to fulfil the promise of the play’s opening stanza.

Melbourne Shakespeare has created a thrilling, memorable Romeo & Juliet; and the outdoor setting is an amazing backdrop. The sun set slowly last night, casting a pink light into the St Kilda sky. Nature is one hell of a lighting designer.


The cast of Melbourne Shakespeare Company's Romeo & Juliet
Burke Photography

Comments

Popular posts from this blog

My Favourite Theatre of 2018

It’s that time of year again, when I look back over everything I saw on stage and put together a list of my favourite shows. I saw over 100 shows this year, mostly in Melbourne and a small number on one visit to Sydney.

I will link to reviews if I wrote one.
TOP TEN (alphabetical order)
The Almighty Sometimes – Griffin Theatre, Sydney
Kendall Feaver’s extraordinary debut play is about Anna, dealing with mood disorders and medication and the complicated relationship she has with the treatments and her mother. Superb cast and beautifully directed by Lee Lewis
Blackie Blackie Brown – Malthouse Theatre
Nakkiah Lui’s work is always amazing but this production, directed by Declan Green, was another step up for her – the satire sharper and bleaker and more hilarious than ever before.
Blasted – Malthouse Theatre
Sarah Kane’s debut play from 1990s London is a tricky beast tackling difficult subjects but Anne-Louise Sarks nailed it with a superb production.
The Bleeding Tree – Arts Centre Melbourne

You are far away: Agent Cooper and his troubling return to Twin Peaks

“What year is this?” Dale Cooper asks in the final scene of Twin Peaks: The Return, the last of many unanswered questions left as the 18-part feature film concluded a week ago.
It’s far from the first time we’ve seen someone who looks like Dale Cooper lost for answers over recent months. But it might be the first time we have definitive proof that he’s in over his head.
Mr C, Dale Cooper’s doppelganger, who was first seen in the original series’ finale back in 1991, returned to the town of Twin Peaks with a goal in mind. Mr C was flexible, though. He had to be; he’d set so many things in motion over twenty-five years, if he’d remained fixated, he would never have come as far as he did.
Dougie, Dale Cooper’s tulpa – created by and from Mr C, wandered aimlessly through life, but slowly made every life he touched better. Plans change and Dougie changed with them. Slowly but surely, Dougie pieced together Cooper’s past life and became richer for it.
Agent Cooper, the third part of this T…

A Thing Isn’t Beautiful Because It Lasts: Avengers in the AGE OF ULTRON

The latest film in the Marvel Universe series feels like nothing so much as a season finale. And since Joss Whedon was once the master of creating season finales that were both emotionally satisfying and thematically resonant, it’s good to have him in charge for the second Avengers movie, Age of Ultron.
I’d like to compare it to the epic scope of Buffy’s “The Gift” but it feels more like Angel, if anything. Things change, the world moves on – and the best you can do is keep fighting. And embrace change.
Tony Stark has always been flawed, but by the third film in his own trilogy, he seemed to have found an emotional peace. But with that peace comes the idea that he can use his technology – his faith in machines being his tragic flaw – to create a replacement for the Avengers. He births an army of robots to calm the populace and fight alien foes.
Robert Downey Jnr’s Stark is such a towering figure in the Marvel Universe films – and to make him partly the villain of this new film is a s…