JOYFUL PERFORMANCES BREATHE LIFE, PASSION AND BEAUTY INTO TRAGIC LOVE STORY |
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) By William Shakespeare Directed by Willem Wassenaar The Lion Foundation Season AUCKLAND THEATRE COMPANY at Maidment, Auckland From 22 Jul 2010 to 14 Aug 2010 Reviewed by Tamati Patuwai, 26 Jul 2010 |
I have seen a few versions of Romeo and Juliet on film and stage. Given the gusto and action of this timeless romance the attention has commonly been weighted to the boys. However Willem Wassenaar has directed the play away from the more familiar course by paying more attention to the heroine, Juliet.
Played delicately by Brooke Williams, Juliet is almost entirely centre stage in full view of the crowd. Adding to this more feminine command is the jovial Nurse raised majestically by Geraldine Brophy revealing clear as day that the ladies have the reins in this piece. This interpretation is an absolute joy to experience, and the pleasure does not stop there.
Wassenaar’s treatment of Romeo and Juliet illuminates all the lyrical genius and brilliance that Shakespeare will always be known for. In addition to this, rousing performances constantly raised the roof as the opening night played out at the Maidment Theatre.
As Juliet, Brooke Williams’s fine balance from virginal princess to insistent diva is remarkably placed with clear expertise. At times Shakespeare’s words burst forth from her like butterflies released from a net. Other times Williams writhes; intoxicated on love as her desires burn for her man.
This of course is not to take away from the inimitable skills of the male members of the cast.
Michael Whalley’s nonchalant Romeo carves the air with his charm and boyish impulsion. Whalley really holds that difficult line of honouring the dense protocols of Shakespeare with a cool realism. Tena koe e hoa!
Kip Chapman’s Mercutio is a fruity feast. Though Chapman’s larger than life approach could easily dominate, there is never a moment where Chapman loses his allegiance to the brotherhood. His charisma mixed with nimble eloquence is totally engaging.
As soon as Gareth Reeves enters the stage a warm buzz filled the arena that only men of the cloth can bring. Reeves’ earnest Friar underpins the tragic romance with a notable connectivity to his fellow actors in truth and sincerity. Finally for the men, Stuart Devenie’s soliloquy as Montague is simply acting at its very best.
In contrast, while most of the performances are compelling, on occasion some physical choices from the actors seemed strained and ambiguous. Whalley’s outstretched arms as Romeo, tend to tip him off his centre a little too much. Benjamin Farry’s use of a snarling voice, presumably illustrating Tybalt’s volatility, actually obstructs the lyricism of the text.
With regards to the set design,by Andrew Foster, huge wrought iron gates and walls complement the themes of domination and control within the play. The confined space also forces the actors to be close and available.
While this creates a sense of intimacy and simplicity, it is a little disappointing that this immovable structure remains throughout the play. As the moods transform from light to dark it might have been interesting to see the physical space change more dramatically.
Nevertheless the production in general is a delight and was welcomed by an enthusiastic audience. I left the theatre energised and in fact inspired. My feeling is that this is not only Shakespeare but more over Theatre in the whole as it must be done. Clear artistic poetry from set to costume (Nic Smillie) to subtle lighting textures (Nathan McKendry) and sound design (Thomas Press).
This has all been woven together with some of the most joyful, slick performances I have seen in a long time. I will be at the next Wassenaar piece taking notes on how to direct a play.
Congratulations to Willem Wassenaar and a master cast for breathing life, passion and beauty into Shakespeare’s enduring and tragic love story.
Thank you all and Mauri ora ki a Romeo and Juliet!
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Paul Simei-Barton (New Zealand Herald);