Romeo and Juliet - Review - People's Theatre

Romeo and Juliet

People's Theatre
2nd Oct 2018

Romeo and Juliet is my least favourite Shakespeare play. I confess to disappointment that this was the People's Theatre choice this year.  I am in a minority. It's a crowd pleaser, everyone loves Romeo and Juliet except me. I think my dislike must stem from a bad production seen some time ago. And possibly Leonardo Di Caprio can shoulder some of the blame. I am always impatient with the fickleness of the characters, and the unreasonable feud. Do any of them even know why the two families don't like each other?

So it takes something special to get me on side for this one. Would People's Theatre be able to sway me from my prejudiced outlook?


Director Anna Dobson took her inspiration from the BBC's Peaky Blinders, bringing the play into post war 20th Century. This gives plenty of reasons for unrest and dissatisfaction in life to account for the many grudges and battles between opposing factions, and gives the wardrobe and set builders the opportunity to be a little more creative. No doublets and pantaloons here, and no rose covered balcony. The set is industrial, with barrels, packing cases and chains in place of the streets of Verona and rosy arbours. The cast are dressed in Tweeds and flat caps, swords replaced with flick knives and cudgels. The women dressed beautifully in furs and lace.
And in the background haunting Nick Cave tunes.

You know the plot - The Montagues and Capulets create fear and mayhem in the streets of Verona, violence erupting whenever the two factions meet. But two meet and fall in love - Romeo, a Montagu, and Juliet a Capulet. They enlist the help of Friar Laurence who marries them in secret. Meanwhile Juliet's father has brokered a marriage agreement with Paris.
I won't be spoiling the plot if I tell you it doesn't end well.

Craig Fairbairn and Emma Jayne Richards sizzle on stage with barely controlled passion in their scenes, capturing and conveying to all around, the immediacy of their attraction to each other and the all-consuming nature of their love.

Richard Jack gives an exceptional performance as the hot tempered and lewd Mercutio- the friend whose temper and loyalty contribute to the tragedy.

It is a fast paced, visually stunning and beautifully executed production. Did the team succeed in impressing me with their Romeo And Juliet? They did. They played a peaky blinder.

It runs until Saturday 6th October.

Denise Sparrowhawk

The Judas Kiss - Review - Royalty Theatre

The Judas Kiss

Royalty Theatre
7th Feb 2017

David Hare's play is a tragic love story. It follows the fate of three men who suffer because of the love they have for each other. The play begins just before Oscar Wilde's arrest for gross indecency - a direct result of a libel action he took out on behalf of his lover Lord Alfred "Bosie" Douglas - Wilde's friends have arranged for him to flee the country to avoid arrest but, swayed by Bosie, he decides to stay and face the consequences. Those consequences being that he is arrested, tried, and sentenced to two years hard labour. His reputation and career ruined.

Act One is set in a room of the Cadogan Hotel. Wilde's friend and former lover Robbie Ross entreats Bosie to allow Wilde to make the right decision and flee. There is clearly no love lost between these two characters - Bosie is petulant and childish, resenting Ross's interference, while Ross is impatient with Bosie's apparent lack of concern for Wilde's safety. As the scene progresses it becomes clear that these two are each jealous of the other's relationship with Wilde. Wilde himself is contrary - he professes to dislike being told how to live and yet is unable to decide for himself which course of
action to take. Eventually he rejects the advice of his friend and decides to stay for the sake of his lover. A decision that is to prove his downfall. Bosie leaves before the police arrive so as to avoid tarnishing his reputation, and Robbie remains against his better judgment to support his friend.
Act two opens after Wilde's release from prison, he and Bosie are living in Naples - they have no money and life is difficult in exile. Bosie amuses himself with a local fisherman, flaunting the relationship before Wilde, yet defensive and jealous when Wilde speaks to his lover in Italian - which Bosie does not understand.  It is very clear that their relationship has changed - Wilde still loves Bosie but he sees him now in a truer light. Bosie however remains much the same - demanding, selfish, railing against the injustice but failing to see his own culpability. He blames Wilde's cowardice for the misfortune but cannot see that his own actions have brought them to this pass.

Alex Goodchild and Robbie Ross play their characters well - Bosie demanding and self centred, Robbie earnest and concerned, frustrated by the relationship. Wilde is played by Andrew Barella - with less flamboyance than I expected. We see glimpses of the great man's wit, but his Wilde is subdued, resigned almost, yet expansive towards the staff in the hotel who have helped him. In Act Two his wit is more ascerbic, stemming from his disappointment and heartache. I expected perhaps more passion in Wilde, but on reflection, his demeanour in the last act is one of grace, and generosity in the face of betrayal and disappointment. The final speech is full of pathos. A sad end to the relationship that was the love of Wilde's life and Barella delivers it beautifully.

The team at the Royalty make some challenging choices in their programme. It doesn't always work. This time it does. John Appleton has directed a thoughtful and touching production.

The Judas Kiss plays until Sat 11th Feb.

Denise Sparrowhawk