Romeo and Juliet @ The Globe Theatre, London
The Western edition. Which starts splendidly, with compelling Oklahoma vibes of gittin’ ready for a dance, of the clash of old and new money, of shoot outs at the OK Corral/saloon rather than the rasp of sword play, and of ghostly hauntings, (for the dead often stay on stage or the fallen rise up and eerily walk off). Basically, think Shakespeare meets Sleepy Hollow with a big dollop of Cowboy Carter pizazz.
Mid-point, the play forgets where it is, in its iconic 19th-century American West setting, where you might dig and discover gold…or love, as half the cast have Brit accents and some are very determinedly ‘yee haw’ American cowboys. Nor is this a split between Montagues and Capulets, old and new money, established settlers and incomers — sadly, the accents are a mess and some jump continents at will. But none of this matters, for the play’s the thing — and it’s wonderfully vibrant, engaging and compelling. A bit like Shakespeare’s ‘Venice’, it’s just a dressy back-drop for the real drama.
Utilising the yard to the full, Juliet’s balcony swoops into view like a proud ship’s prow, with Juliet authoritatively getting the crowd to move out of the way. Similarly, her bed and death scene drop in from the back of the yard — and disappear off again. So, when Juliet and Romeo are looking for each other, it’s both literal and a bit amusing. Thankfully we the audience control ourselves and stop from pantomiming ‘there he is!’
Nevertheless, the production convinces in its doomed romance between Romeo and Juliet, the central characters convince in their joyful love and sudden marriage, as well as in its ghostly American Gothic moments, as Romeo appears to will, to woo Juliet to join him in ghostly death. And why not, when the dead are so palpably amongst the living, when the afterlife is positively crowded? In so intimate a setting, we truly feel Juliet’s despair and horror at awakening to find Romeo dead and the poison all gone, and the gruesomeness of impaling herself on a dagger to join Romeo once more.
Romeo (Rawaed Asde) convinces as truly love-lorn over Rosalind, until he encounters Juliet (Lola Shalam), at a dance where he shouldn’t be. We also truly get a sense of Romeo’s friends, of Mercutio (Michael Elcock) and Benvolio (Roman Asde) who drag, tease and cajole him, as supportive friends would, outside, to live, when he wants to mope and pine alone. Sean Holmes has also brought the minor characters to prominence and depth: Juliet’s Nurse (Jamie-Rose Monk) is more worldly wise, shrewd, and less ridiculous than in other productions; Lord Capulet (Colm Gormley) is truly terrifying in forcing Juliet into marriage, and vivid Mercutio, dazzlingly charming, wonderful at ad-libbing and bantering with the audience, magnetically poetic. Watch out if you’re in the front row of the yard — he’s not above flirting, catching your eye…or a kiss!
At the same time, Lord Capulet can be a kindly, ebullient, generous host — so the switch is scary. He’s prepared to point a gun at his child! Meanwhile, Friar Lawrence (John Lightbody) had real weighty integrity and moral authority, real faith which compelled him to act. We felt it with him in being really grieved and exasperated when a monk brings him news that he’s failed to get the letter to Romeo in time. He, like all the cast, addressed all the levels of the theatre and made eye contact, really chatted to us. Together we realise the consequences as the play’s events unfold. Paris (Joe Reynolds) too had more colour than usual, actually being really in love with Juliet — even if her father is in love with just his status and money. Therefore, gentle Paris was truly horrified at finding Romeo in Juliet’s tomb, because he really loved and cared for her, was actually mourning and grief-stricken; at the same time, he was blinded by his love and couldn’t really see Juliet’s feelings amongst his own. On the other hand, the Apothecary (Marcus Adolphy) is remarkably fly and light on his feet!
Though we believed in the whoosh of Romeo and Juliet’s love, and Juliet’s self-determination, her intelligence, her own fervour, it was harder to believe in Lady Capulet (Léa des Garets). In this version, she was weak and feeble, a bit lukewarm, very upright and proper, but no more. It was hard to get a sense of who she was or what she felt about anything — her daughter’s pleas against a forced, unwanted marriage were met with an awkward still shrug and walking away. In other productions, she can be cold, authoritarian, conformist or conflicted. Here she just walked on stage… to walk off again, (very little was done with her character), and she tended to be overshadowed by Lord Capulet’s ebullience or aggression.
As the ‘gun shots’ made the audience jump and yelp, Tybult (Calum Callaghan) died a shuddering dramatic death after a shoot out with Romeo — and Malvolio tragically covered up his fatal wound, clutching at pillars. Though it’s not all gore, there are marvellous swing doors at the back of the stage, the balcony band is marvellously utilised and there are line dances and polkas galore!
For an energetic Shakespeare with a Western Gothic twist — this play is the thing and it’s central characters not only convince, but enthral.
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