Shakespeare’s signature romance travels to the fringe scene in this new abridged version re-envisioned by the Clever Box Theatre company. Guillermo Nazara shares his views on the show, to let us know if as for its creatives and performers, all are punished.
If there’s something I enjoy when coming to the theatre (even more than spreading my bile about a show I’ve disliked afterwards – you’re wetting already, aren’t you? Good, keep it moist) is getting your shy plus one friend to be part of the performance. So when you test the water with him (as you suspect that a front row seat by a fashion catwalk-style stage will probably mean asking for trouble), you can’t help but replying with a resounding “YES” when one of the actors checks if you and your mate would be down for a little interaction – I’m a nice person, after all.
You know what you’re coming for when attending to a rendition of Romeo and Juliet – well, I didn’t, cuz I can’t remember anything else than the venue I’m attending to anymore, but you catch my drift. We’re familiar with the story and chances are that we’ve seen, heard or read (I’m being so generous with your credit…) hundreds of versions of Shakespeare’s signature romance. From modernized, yet still faithful takes to more far-fetched approaches such as jukebox musicals literally biting their thumb at the original plot, the ways of retelling the doomed affair of the two young lovers of Verona seem to be endless – something that, however, can’t be said about their success; at least, not about every one of them.
For three days only, the tragedy of the Capulets and Montagues travels to under the Southwark arches in a intimate production devised by the Clever Box Theatre company. Three actors, no sets, a bit of lighting and Nino Rota’s Godfather‘s theme to underscore an abridged half-updated, half-period recount on the Bard’s intoxicating (and later heartbreaking) liaison. One plays Romeo, another one plays Juliet – an additional narrator comments on the action as he turns, through flourishing dance, into every character that will bring the budding couple into their demise. It’ simple. It’s small. And it’s definitely brilliant.
A joyous example of theatrical strength, the montage takes us through an exhilarating journey of constant excitement – masterfully combining their dramatic and comedic elements in what results in an amusing, engaging and, ultimately, extremely compelling interpretation. Enhancing the connection with a nowadays audience through contemporary remarks while preserving both essence and words of Shakespeare’s treasured creation, the piece manages to deliver a more accessible, understandable view of the classic narrative, as well as maintaining the purity of its key scenes in a manner capable of enticing the longest-standing devotees apart from the most untried rookies in the realm of pentameter-ed entertainment.
Its writing accomplishments (credit to Michael Wicherek & Oneness Sankara) are evenly matched by the production’s frugal yet visually rich values. Directed by Hal Chambers, its reduced set fairly becomes one of the greatest stars of the show, through the remarkable dynamism that’s put in use, carrying out some superb (and quite often, surprising) ideas all throughout the staging – which, mixed altogether with Richard James- Neale’s vigorous choreography, concoct a true spectacle of jaw-dropping proportions.
All of it is, on the other hand, safely supported by the cast’s strong portrayals, exuding tremendous magnetism through a rendition that, even just for its intense physicality, genuinely deserves a resonant applause. Among them, Mimi Martin makes a memorable appearance as Juliet, endowing the character with both verity and endurance, while oozing some palpable rapport opposite to Justice Ezi in the part of Romeo. Yet, the highest praise goes to Jack Reilly in his multi-role performance, boasting presence, charm and incredible versatility through a most charismatic delivery.
Same story, same ending – but somehow a new, refreshing outcome, Clever Box Theatre’s version of Romeo and Juliet is meant to soar over their protagonists’ plight, and live on for at least a few nice runs. With only some small tweaks to be made (the opening doesn’t need that much dancing and should jump to the exposition faster, as well as perhaps a bit more of variety in its soundtrack), the montage is anyhow a blazing piece of theatrical force prepared to explode (in the best of senses) at any time. As much you may have experienced their wrecked fate over and over again, it’s quite plausible this one will shock you some way or another. Oh, and if by writing this last paragraph I’ve spoiled you the tale’s finale, let me tell you how sorry I am that you haven’t ever grabbed a book.
Romeo and Juliet plays at London’s Union Theatre until 21 May. Tickets are available on the following link.