Review: ROMEO & JULIET, Globe Theatre YouTube

In many ways, the choice of Shakespeare's Romeo & Juliet is a smart one from Shakespeare's Globe; it is a familiar-enough story to draw in a new audience, while satisfying those who have watched it numerous times. It does, therefore, seem a pity that the Globe has chosen this 2009 version of the world's most famous love story, as it fails to ignite very much passion in either the cast or the audience.

In Shakespeare's most well-known work, despite being members of two rival families, Romeo and Juliet meet and fall in love. This leads to renewed violence between the families and a pact between the young lovers that leads to deep tragedy for all.

Dominic Dromgoole's production leans towards the preference for some directors to use as youthful actors as possible for roles of the lovers. Unfortunately in this production, the lack of stage experience shows too clearly.

At just 18 at the time, Ellie Kendrick is a serious and earnest Juliet, but lacks the emotional intelligence and passion needed to make the story truly convincing and, indeed, tragic. This performance was her stage debut and it shows.

Adetomiwa Edun, is a slightly more mature, but nevertheless boyish Romeo. He projects a strong stage presence, but the main issue with his performance is that he is just too nice, lacking the essential weakness at the heart of the role and never fully invested in the emotion.

The other big obstacle is that the chemistry between the pair is distinctly lacking and makes the entire story unconvincing. The beautiful ball scene where they meet shows some potential, but this quickly peters out and the discovery of each of their deaths feels awkward rather than tragic and is met with little heart or raw emotion.

It is many of the other performances that save the production. Penny Layden as the Nurse is a refreshing and plausible character, not the traditional caricature, which is quite an achievement by Layden. Philip Cumbus is a very fine Mercutio; humourous, belligerent with an undercurrent of violence, along with Ukweli Roach, stalking the stage as Juliet's bloodthirsty cousin Tybalt. Rawiri Paratene is also excellent as a dignified and very human Friar Lawrence.

Dromgoole's direction is playful and takes advantage of the bawdy humour within the text at the start. The fight scenes, arranged by Malcolm Ranson, are also very successful. The duel between Tybalt and Mercutio is suitably vicious and very convincing; there is great energy here and a sense of real danger is well-expressed.

Nigel Hess's musical arrangements use period instruments and give a lovely flow to the production. The music very much aids the audience with indicating scene changes and transitions, as well as changes in mood and time.

Designer Simon Daw draws on the Elizabethan origins of the play for a very naturalistic look and feel. Citizens of Verona mingle with the characters; Capulets and Montagues are distinguished by different colours, with the two lovers in neutral tones who, rather charmingly, take on colour from the other family after they fall in love.

There is a lot of like about the design, look and feel of this production, but the essential, core fire that should come from the central couple never quite stays lit.

Romeo & Juliet will be available on The Globe Theatre's YouTube Channel until 2 May and then on the Globe Player for a small fee

Photo Credit: John Haynes

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