Review: ROMEO & JULIET, Greenwich Theatre

Photo credit: Ross Kernahan

Another hot night in a stifling theatre; if only our forbears had known about climate change and had left us buildings better able to cope with the heat. We were at the always enterprising Greenwich Theatre on this occasion, where summer offerings usually include revivals of plays from the likes of Jez Butterworth. We were offered something different this year, a production of Romeo and Juliet performed by a cast of just six actor-musicians.

Using a repurposed set originally built by drama students, the production is by James Haddrell, Artistic Director at Greenwich, and in the programme, he promises a Verona which “sits on the bold line between bold architecture and free nature” and seems to suggest that these characterise the difference between the two families. If so, it is a difference too subtle to be noted whilst trying to identify the characters in a cast with so much doubling (and tripling indeed).

In this version, Romeo and Juliet are both female (indicated by pronoun changes to the text) and yet wear stereotypically gendered clothing as though they were male and female. The predominantly female cast and characterisation leads to thoughts that we might be in a matriarchal Verona, but that seems not to be the case as the Lords Capulet and Montague are both present and portrayed as male and in authority. Some of the Montagues wear red to help us identify them, but not all of them. So far, so conventional; we expect our Shakespeare to be gender-fluid these days and would be surprised if it wasn’t, but the least successful though more innovative aspect of this production is the frequent recourse to music.

Although played live on guitars, flute, percussion and even mouth organ, and always well performed by the talented cast, these sung interludes totally break up the text and on some occasions reduces its effect, as with the famous closing words in verse, followed on this occasion by yet another full cast sing-along. The musical additions (even a Simon and Garfunkel number at one point) also ensures that, on this occasion, the “two hours’ traffic of our stage” was nearer three.

The cast cope well with the demands made on them, for the most part, though the standard of verse speaking inevitably varies. The most successful doubling – perhaps for the first time ever – is that of Mercutio and the Nurse. Portrayed by Nikita Johal (memorable at this address and others in panto), the broad strokes used to suggest each character are far more successful than the more tentative differences indicated by other actors with multiple roles. Charlotte Harwood, too, makes much of the contrast between her stern Lady Capulet and more kindly Friar Lawrence (played as female but not renamed as a Sister, although Friar John is played as male). The second half of the evening is considerably more compelling when these characters are interacting. In a professional debut, Ava Honey is a vigorous and determined Juliet, though the audience feels for her when she is covered in a thick duvet on such a hot night.

The fights are convincing (Kaitlin Howard), if overplaying the grunting, and if we get the impression of an argument between individuals rather than warring families, that is inevitable with such a small cast. Romeo & Juliet runs for three weeks at Greenwich and this ambitious production offers quite a contrast to much of the lightweight summer fair on offer in our theatres.

*** Three stars

Reviewed by: Chris Abbott

Romeo & Juliet plays at Greenwich Theatre until 25 July, with further info here.