University of Adelaide Theatre Guild. Little Theatre. 7 May 2014
William Shakespeare's Romeo & Juliet is in my view his most poetic work. The yearning of the young lovers has defined the teenage condition ever since - all the way to West Side Story and beyond - and is dramatically and tragically heightened by the blood feud between the families.
First-shot-at-it set designer Paul Rodda's Verona was manifested with gritty white rendering and a twilight skyline. Actor Paul Rodda's parsimonious prologue put the play in peril - he did not foreshadow the comically animated and skillfully executed bonhomie and hotheadedness he wowed the crowd with as Mercutio. Costume designer Sharon Malujlo assisted director Megan Dansie in shaping a somewhat medieval look with a budget.
It was clear from the opening confrontation between the Montagues and the Capulets that we had a cast with a wide range of experience. Then one is stunned by the reality of the swordplay - not once but twice again in the production. Complex thrusting with very real looking foils was choreographed by Scott Curness, Jaye Gordon, Mark Holgate and Andrew Kenner.
Although already at the ripe old age of nineteen, Abby Hampton embodied the innocent naivety of the not-quite fourteen Juliet. In her opening scene, she impresses the audience with her listening - an obedient Juliet yet we see her struggling with this talk of marriage between her mother and her nurse. Hampton conveys an unusual acting quality of having her character appear to self-reflect on every line and situation, adding an extra dimension of veracity. A stunning performance. Akkshey Caplash makes an impetuous, sulking and in-action Romeo but misses out on some of the subtleties. For me, he did not always match Juliet's emotional quotient. Together, however, they obtained an evocative chemistry, yet still, director Megan Dansie could have asked for more.
The cast elders steadied the production. Cate Rogers issued her usual nuanced and studied performance as the doting nurse with a touch of dotage. Steve Marvanek's father raging at a daughter's disobedience and ungratefulness took me aback when he nearly backhanded our heroine. Nary was there a friar cooking up intrigue like Gary George, with his gut-busting energy and focus.
Motiv Brand Design's Botoxed kissing-lips motif on the program cover and flyers also evokes the hearts of R & J in their final slumber. It is very fetching, and ought to turn some heads into the theatre.
At the Q & A after the show I attended, the cast was clearly in awe of director Megan Dansie's ability to get the show on the road, and to get the play clearly understood and accessible to today's texting adolescents. While some things have changed since Shakespeare's time, some things haven't, but were never said more beautifully.
David Grybowski
When: 3 to 17 May
Where: Little Theatre
Bookings: trybooking.com
NOTE: Barefoot Editor, P. Rodda appears in this production and this review remains entirely unedited from the original version written by D. Grybowski.
