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

Careful the things you say... Joe Wright’s HANNA & the combination of genres

Once upon a time... I tried to write a film script that melded noir and Grimm’s fairytales, where the femme fatale , clad in a slinky red dress, was also (in a way) Little Red Riding Hood. Where the lover of a hit man discovered his true identity from something hidden under his mattress. Evil (step)mothers, adopted children, hunters, princesses and family fortunes. Noir and fairytales have a lot in common and yet... I had real trouble finding the right tone for the piece. And, in the end, my script read too much like I was trying to get the concept to work, rather than telling a compelling story. Saoirse Ronan as Hanna Joe Wright’s film HANNA , screenplay by Seth Lockhead and David Farr, finds the perfect balance between a high tension thriller and a fairytale coming-of-age story. And travels further into the story of this mysterious girl than the trailer suggests. Going in, I was worried this might be too close to Leon or La Femme Nikita – the original films of which I t

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, th

Carrie Fisher: No More Postcards

Two Princess Leias, a medal and some broken jewellry Did I ever tell you about the time Carrie Fisher kissed me on the cheek? Stick around, I’ll tell it again soon. Carrie Fisher was Princess Leia; no getting past that. Except, of course, she did. And then she stepped right back into being her last year. She was the right person to play Leia because she was the right age at the time and she is part of Hollywood royalty. She was also the right person to have been Leia in retrospect, too. Can you imagine anyone else describing Jabba the Hutt as a “giant saliva testicle”? Anyone else who would bring an audience member up on stage to mount a Leia “sex doll” and whip it away before they get close enough to fulfil their childhood fantasy? Actors, even those of Star Wars­­­ -level fame, go in and out of the spotlight. Oh, you could spot Fisher on screen in the 1980s and 90s, but much of her hard work went on behind the scenes, as a script writer and script doctor. Hook , Sist

Earth’s Mightiest Heroes: THE AVENGERS assemble on the big screen

I like superheroes. I grew up with reruns of the 1960s Batman TV series. The Superman films were released when I was really young. The Amazing Spider-Man , Wonder Woman and The Incredible Hulk were nighttime TV shows. And one of the defining motion picture releases of my teenage years was Tim Burton’s Batman in 1989. I was never a big comic book reader as a kid – I’ve probably read more comic books, uh, graphic novels in the last ten years than any time before that. But superheroes were always very cool. And Burton’s Batman took my favourite superhero very seriously. Well, until Christopher Nolan’s Batman Begins appeared – taking it ultra-seriously and much darker than I’d ever hoped for. As a non-comic reader, I find it hard to align myself as a DC ( Batman , Superman , Wonder Woman ) or Marvel Universe ( Spider-Man , X-Men , The Avengers and its consitutent parts) person. They appeal to different parts of my brain. In effect, DC’s superheroes are often lone warrior

Colder by Lachlan Philpott - Red Stitch

Colder Photo: Teresa Noble I’m there. I’m sitting there in the dark. Sitting there in the dark watching a play by Lachlan Philpott at Red Stitch. A child has gone missing at Disneyland but nothing evokes Disneyland for me, not even the actors wearing mouse ears. Especially not the actors wearing mouse ears and affecting exaggerated American accents. I want to feel what the mother is feeling, while officious behind-the-scenes Disney workers assure her everything is going to be fine. I want a sense of her being frantic and frustrated. But I don’t get this sense because the language of the play is putting me at a distance. The expository monologues don’t paint a picture or flesh out a world beyond the very basic (“padded concrete, padded seats”) and the facile (“padded people”). This choral arrangement of voices is not singing. Eight-year-old David remains missing all day and we learn that his single mother has felt separate from him ever since. We ar

Walking out... I couldn't do it, could you?

Every so often, I think about walking out of a play, but I can't. I've never done it and I don't think I ever could. I've never walked out of a film, either. It's not in my nature. In the end, I'd rather suffer through the entire thing so I can criticise the entire play, rather than leave halfway and never know if it got any better or any worse. This has come to mind now, not because I wanted to walk out of Terence Malick's big budget experimental film The Tree of Life , but because apparently walk outs are becoming a phenomenon with that particular movie. And in a packed theatre at Cinema Nova last night, the walk outs were notable by their absense when the lights came up at the end. It certainly won't be to everyone's taste. It's very much an impressionistic film that explores grand ideas through mood and beauty, rather than telling a coherent narrative. But, even those moments in the film that were the most challenging on a "need for

REVIEW: The Gospel According to Paul by Jonathan Biggins

Early on in Jonathan Biggins’ one-man ode to Australia’s best-dressed, collector-of-antique-clocks Prime Minister, the character of Paul Keating says that there has never been a great Australian PM. None on the scale of Churchill or Washington or Jefferson. And I wondered if the premise of the show was to submit Keating for consideration. Paul John Keating was the 24 th Prime Minister of Australia, elected to office in 1993, after ousting his predecessor, Bob Hawke, in 1991. He was a career politician from the age of 25, after managing a rock band called The Ramrods in the late 1960s. He was only Prime Minister for one full term and a bit, nothing like Hawke (in The Lodge for nearly 9 years) nor his successor, John Howard, who held the country hostage for nearly 11 . Keating was a member of the Labor Right; socially progressive but fiscally conservative. He’s famous for saying “the recession we had to have” during the economic slowdown of 1990, responding to the High Court’s Nativ

REVIEW: This Genuine Moment by Jacob Parker - Midsumma

Christmas Eve. A bedroom. Two strangers, their limbs entangled; the doona cover and pillows hiding their identities just a little while longer. Riley wakes first to chimes from his mobile phone; an alarm or an early morning text message. He carefully manoeuvres himself away from last night’s hook-up and drags himself out of bed. His family are coming over for dinner and he’s got to clean up his new apartment before they arrive. But first thing is first, he’s got to get rid of “L” – the man he slept with last night, whose name escapes him right now in his early-morning, hangover fog. L doesn’t seem in a hurry to leave, though. He’s checking his messages; friends are texting photos of their Christmas Eve barbeque, trying to talk him into coming over. He’s not sure he wants to. He’s also sending messages to someone in his phone known only as FUTRE HUSBND and ignoring texts from his dad. Riley, in a haze, is trying to put the pieces together from the night before. He got wasted at

REVIEW: And Then She Became A Chair by Michelle Myers

  Michelle Myers in And Then She Became A Chair A woman emerges from the darkness, head covered, moving slowly, weighted bags are attached to her dress and drag along the ground behind her. She is in a waiting room. A doctor’s office. A hospice. Inside a commercial begging her to start a new life in Queensland. This is purgatory. Michelle Myer’s one-woman performance, And Then She Became A Chair , is an unsettling, confronting and poetic study in grief. We watch as a woman deals with the inevitable death of her mother, remembering absurd moments of her life, of their lives, in the years, weeks and days leading up to… C.S. Lewis wrote in A Grief Observed , a reflection on the passing of his wife, “No one ever told me that grief felt so like fear.” And it’s this observation that Michelle explores in this work – grief being the fear of loss, the fear of the unknown and the fear of what comes next. It’s interesting that the first work of theatre I have seen this year is focused so mu

REVIEW: BURN THIS by Lanford Wilson

  Mark Diaco as Pale in Burn This After attending the funeral of her roommate Robbie, and his partner Dom, killed in a freak boating accident, Anna and her other roommate, Larry, must deal with the heartbreak of their sudden loss. Soon joining them is Anna’s long-time boyfriend, Burton, and later – in the middle of the night – Robbie’s brother, Pale. Together, they dance around their feelings, trying to deal with their grief – alternating between opening up to each other and shutting down. Lanford Wilson’s play was first performed off-Broadway in 1987 and while the text gives the actors a lot to play with, this new production at 45 Downstairs made me wonder, “Why now?” The question is a double-edged sword; some plays are just so good, that reviving them can be relevant any time. Some plays, even if they are dated, can feel like interesting time capsules – an insight into a time gone by, a world that no longer exists. “Why now” can be a question for creatives, to dig into why it’s a