He said:
Romeo and Juliet is such a classic play that it’s difficult to make it seem fresh and new, especially without losing some of the genius of the writing and characterisation that Shakespeare does so well. But this production was perfect; it was different and unique, yet wonderfully true to the original.
Even as we walked in and sat down, you could tell it would be a night to remember; the seating was in traverse, (that is, split into two sides facing each other over the stage) in an alley theatre style. Not only was this evocative of the Globe Theatre (or as close as the Drama Barn gets to the Globe…) but it also made the audience one with the drama, making our engagement with those sitting opposite part of the experience.
The other cornerstone of the production was the forceful emotion that shone through all of the actors. The brilliantly angry and brutally sad sections, and vivid, violent fight scenes all seemed to place the production on solid foundations and forced the audience to engage and care about the entire world the play created. It was as if real people broke down and died on stage. As if the curtain call was somehow very final and crushing.
She said:
The opening was the best I’ve seen in the Barn, setting the scene in dystopian warzone. The whole cast was immensely strong, even the smallest roles thoroughly characterised and the whole production fizzed with energy. Often with Shakespeare the action seems dominated by the language but all the actors not only mastered the language but dominated it, achieving the feat of making it seem entirely natural. They seemed to have really thought about the text, rather than simply learning it by rote, and the direction fitted the speeches naturally, a credit to director Toby King and Assistant director Edd Riley.
Matthew Roberts and Saffia Sage were stunning in the title roles. Matthew Roberts was possibly the smiliest Romeo I’ve ever seen, but the better for it. There was plenty of the chemistry between them that is so needed if the plot is to make the slightest sense. In the supporting roles Jason Ryall provided a complex and compelling Mercutio, and Daisy Hale the comically protective Nurse. Alec Burt as Friar Lawrence was especially good in what could have been a difficult role.
I only have 200 words in which to review this play but really I could do it in 5: go and see this play.