Director:
Peter Evans.
Designer: Anna Cordingley.
Lighting Designer: Benjamin Cisterne
Composer and
Sound Designer: Kelly Ryall.
Movement and Fight Director: Nigel Poulton
Bell
Shakespeare Company: Canberra Theatre Centre Playouse until 9th
April 2016.
Reviewed by
Bill Stephens
 |
| Alex Williams (Romeo) Kelly Paterniti (Juliet) |
In her
program notes for their 2016 production of “Romeo and Juliet” Bell Shakespeare
Chairman, Ilana Atlas describes it intriguingly as “a departure from what you
have come to expect from Bell Shakespeare”.
Is this a
reference to Anna Cordingley’s splendid period design for this production? Bell
Shakespeare productions have always been notable for being presented in
contemporary costumes, or at least costumes that are ambiguous in period. One
argument being that in medieval times, Shakespeare’s actors would have worn contemporary
costumes.
One of the
problems of presenting Shakespeare in contemporary dress however is that his
characters continue to talk in medieval language, which many find alienating
and distracting when the characters are dressed in business suits.
No such
problem in this production because the characters are costumed in splendid
medieval-inspired costumes allowing them to look and sound to many, exactly as
they should.
Director
Peter Evans and his designer, Anna Cordingley, have set this handsome
production as a play within a play, occurring in the confines of a decaying
theatre. Embracing the theatricality of this concept, the fine cast enthusiastically
explore the endless opportunities available to intrigue and delight the eye as
well as the ear, to create a luscious and absorbing realisation of perhaps the
most famous play in the Shakespearean repertoire.
Kelly
Paterniti is simply riveting as Juliet. Entirely convincing as a sheltered
teenager experiencing the rapture of first love, she fascinates with her
depictions of Juliet’s various responses to her awakening sexuality, her
wilfulness when confronted by her father, and final horrified responses to the
discovery of Romeo’s body.
 |
| Alex Willams (Romeo) Kelly Paterniti (Juliet) |
The casting
of Alex Williams as Romeo is equally inspired. His contemporary good looks and
youthful brashness make it easy to understand Juliet’s instant attraction. He’s
also impressively athletic, which he demonstrates in Nigel Poulton’s
excellently staged fight scenes.
Michelle
Doake treads a fine line with her captivating performance as the Nurse. Gauche,
often silly, occasionally bawdy in the early scenes, her distress for Juliet when
Lord Capulet demands that she marry
Paris, is beautifully realised.
 |
| Alex Williams (Romeo) Michelle Doakes (Nurse) |
Justin
Stewart Cotta gives an impressive performance as Lord Capulet, impotent with frustration
as he realises he can no longer control his precious daughter. Angie Milliken
as his wife, Lady Capulet also, captures well the dilemma of a mother torn
between wifely duty and motherly love.
 |
| Tom Stokes (Tybalt) Justin Stewart Cotta ( Lord Capulet) |
Tom Stokes brings
an unexpected brooding quality to Tybalt, which adds extra frisson to the scene
in which he re-appears as if raised from the dead, as the mysterious apothecary
who hands Romeo the vial of poison which he uses to commit suicide.
Rounding out
a cast notable for the clarity of its diction and phrasing are Jacob Warner
(Benvolio), Damien Strouthas (Mercutio), Michael Gupta (Paris), and Hazem
Shammas (Friar) Cramer Cain (Friar John).
Whatever it
is about this production which signals the “departure from what you have come
to expect from Bell Shakespeare”, this is a production guaranteed to rekindle
your love of “Romeo and Juliet” and the timeless words of William Shakespeare.
This review also appears in Australian Arts Review. www.artsreview.com.au
