REVIEW: ROMEO AND JULIET – RSC – STRATFORD

KNIFE-CRIME and street violence have changed little between Shakespeare’s world and the streets of contemporary London.

The sinful waste of youth to this scourge and the willingness to embrace hatred, violence and bigotry are powerful, underlying themes in the RSC’s new production of Romeo and Juliet.

Director Erica Whyman has updated this tragic story of star-crossed lovers to reflect today’s society, diversity and inclusiveness.

It is a brave move and one that begins with the seemingly obligatory flashmob – all hooded youths and House music.

And some of the genders have been changed, including the now queen pin role of Mercutio, Romeo’s loyal sidekick who takes a blade for his sins.

But this injection of youth and fresh direction is to be applauded and supported even if it doesn’t quite bridge the generations with loose choreography and white-noise music in the party scene.

For Whyman has created an engaging and infectious feel to this production backed by the versatility and inventiveness of Tom Piper’s industrial chic set which transposes as balcony, Friar’s cell and ultimately tomb.

Bally Gill, as Romeo and Karen Fishwick as Juliet are entirely convincing as the ill-fated lovers and Ishia Bennison, as Nurse is delightful and Andrew French’s timing and movement as Friar Laurence is masterful.

Yet the spotlight really does fall on Charlotte Josephine as Mercutio to make bold the statement – and she really does in the critical Queen Mab speech when all gender is cast aside in the midst of sheer talent.

Yes there is some dad (and mum) dancing and the Tomb scene lacks impact in an elevated position and feels rushed but this is on the fringes of a high-energy production.

Gill’s interaction with Fishwick, and back again, is beautifully nuanced and the narrative moves with fluidity.

Romeo and Juliet runs at the Royal Shakespeare Theatre until September 21. Box Office: 01789 403493.