Skip to main content

Romeo and Juliet

Brunton Theatre, Musselburgh
3 stars
Hearts and flowers are everywhere in Pilot Theatre’s touring production of Shakespeare’s teenage love tryst tragedy, from the ostentatious shrine we’ve grown used to from public displays of mass grieving that opens the play, to the bed of roses the couple both consummate their marriage on before being embalmed to resemble a classicist painting. With a cast of eight playing in modern dress, Romeo and Mercutio’s late night confrontations with the Capulet boys look like one more Saturday night post closing time pagga between assorted smart but casual types looking after their respective manors.

Romeo’s name may not be down for the party to end them all, but it’s here he stumbles into Rachel Spicer’s Juliet, a checked-shirt and Daisy Duke denim shorts sporting Tomboy kicking against the nouveau riche glamour of her parents and the bow-tie sporting geek they’ve set her up with. Inbetween being mortified by some embarrassing Dad dancing, Juliet falls head over heels as she blossoms into womanhood.

Stylistically, then, Marcus Romer and Katie Posner’s production works a treat. While the senior Montagues are excised from the play completely, Friar Lawrence becomes a hip vicar who spouts liberation theology in sandals and a t-shirt with a picture of Jesus that resembles Che Guevara. There is even a last minute hint that it is a jealous Lady Capulet who sells Romeo his poison. It’s just a shame that such an otherwise vivid and modern treatment is let down by some patchy acting which, outside of Spicer and Oliver Wilson as Romeo, resorts to surface mannerisms where, in front of a schools matinee audience, truth counts most of all.

The Herald, November 1st 2010

ends

Comments

Popular posts from this blog

Clybourne Park

Adam Smith Theatre, Kirkcaldy Four Stars
It’s a case of whoops, there goes the neighbourhood twice over in Rapture Theatre’s revival of Bruce Norris’ Pulitzer Prize-winning play, which opens in 1959 in the same Chicago suburb where Lorraine Hansberry’s drama, A Raisin in the Sun, which appeared that year, is set. Here, Robin Kingsland’s Russ and his wife Bev, played by Jackie Morrison, are preparing to move out of their now almost empty des-res following a family tragedy.
Unknown to them, the bargain basement price tag has enabled a black family to move in, with Jack Lord’s uptight Karl a self-appointed spokesperson for the entire ‘hood. Russ and Bev’s black maid Francine (Adelaide Obeng) and her husband Albert (Vinta Morgan), meanwhile, bear witness to a barrage of everyday racism. Fast forward half a century, and a white family are trying to buy the same house, albeit with a heap of proposed changes which the black couple representing the block’s now much more diverse community aren’t…

Michael Rother - Sterntaler at 40

"There's so much to do," says an uncharacteristically flustered Michael Rother. The normally unflappably beatific German guitarist, composer and former member of Neu! and Harmonia, who also had a stint in a nascent Kraftwerk, is packing for live dates in Russia and the UK, including this weekend's show at the Queen Margaret Union in Glasgow.
"It has always been my choice to take care of these things myself and not have a manager," he says. "Somehow for me the independent aspect of doing things is really important, but it has its disadvantages."
As well as playing selections from Neu! and Harmonia, the trio he formed with Dieter Moebius and Hans Joachim Roedelius of Cluster, Rother's Glasgow date will see him play a fortieth anniversary rendering of his second solo album, Sterntaler, in full. Rother will be accompanied by guitarist Franz Bargmann and drummer Hans Lampe, the latter of whose musical involvement with Rother dates back to Neu! days, …

Suzy Glass – Message from the Skies

Freedom of movement matters to Suzy Glass, the arts and events producer currently overseeing the second edition of Message from the Skies.This animated literary derive around the city forms part of this year’s Edinburgh’s Hogmanay programme, and runs right through till Burns’ Night. Glass’ concerns are inherent in the event itself, which has commissioned six writers from different disciplines and experiences to each pen a love letter to Europe. Each writer has then paired up with a composer and visual artist or film-maker, with the results of each collaboration projected in monumental fashion on the walls of one of half a dozen of the capital’s most iconic buildings.
With venues stretching from the south side of Edinburgh to Leith, and with one city centre stop requiring a walk up Calton Hill, there is considerable legwork required to complete the circuit. It shouldn’t be considered a race, however, and audiences are free to move between venues at their leisure, visiting each site on d…