A few hundred years of history have made Romeo and Juliet an iconic couple, somehow divorced from writer William Shakespeare (1564-1616)'s original play. So it is good to see a traditional, full-cast production of Romeo and Juliet in an intimate space. It's the kind of production that might have been staged in Shakespeare's time, a demanding ensemble piece with many fine contributions from cast members, but no really starry performances.

That said, the actor's art is here in detail. There's nowhere to hide in this small space, and there is much to admire. Christopher Hughes concentrates hard as Benvolio, and keeps acting even when the focus of the play is elsewhere. Brendan Jones is a nicely jaunty and edgy Mercutio too. There isn't a weak link in the cast.

Anticipating those big silver-screen moments is something every audience is prone to, and directors can be put out by, but Alison Goldsmith's direction is subtle, and her light-handed approach helps to fit those moments into a more balanced overall picture. Toby Spearpoints fight scenes are also excellent; flashes of action that punctuate the more contemplative drama going on elsewhere.

Ben Fisher as Romeo and Aimee Parkes as Juliet really do look as though they have the passion that powers this tragedy, particularly in the first half of the play, where Juliet, dressed in red, is both touchingly innocent and sexy. Their physical longing gets established against a background of gangs, young men with something to prove, and knife crime - some things don't change. Shakespeare served hot.

The play begins at 7:30, and ends at around 10.15, with one 15-minute interval, so it does demand concentration and some stamina on the part of the audience as well as the cast. There's no set as such - and hence few distractions. The 'Lost Generation' theme (mentioned in the programme) is pretty much only in evidence as far as costume is concerned, and that doesn't distract either. In fact, the costumes add an edge of elegance and help the positioning of what is a drama of the upper classes - men with time enough to be obsessed with defending their honour, and women whose role is to be married to whoever will enhance the prosperity and influence of their families.

In this world, passion is a dangerous luxury - whether driving to love or violence - and the moments before the killing of Mercutio by Tybalt have a distinctly timeless resonance. This is a great play for lovers to attend. William Shakespeare often seems to have a 'watch out for what you wish for' attitude to life in his plays, as well as the ability to say in many fresh ways that people should gather rosebuds while they can.

Cast Credits: (alpha order): Stephen Blakely - Prince. Emma Boswell - Lady Capulet. Mark Burrell - Gregory, Friar John. Emma Collins - Lady Montague. Robert Dobson - Montague, Apothecary. Ben Fisher - Romeo. Adam Ganne - Paris. Christopher Hughes - Benvolio. Brendan Jones - Mercutio. Carl Knighton - Samson, Watchman/Servant. James Kermack - Balthasar. Robert Lockhart - Capulet. Sherry Newton - Nurse. Matt Prendergast - Friar John. Aimee Parkes - Juliet. Andrew Thompson - Tybalt.

Company Credits: Writer - William Shakespeare (1564-1616). Director - Alison Goldsmith. Fight Director - Toby Spearpoint. Costume - Emma Collins. Lighting - Francesca Clark, Daniel Addis. Technical Operator - uncredited. Producers - Sherry Newton, Alison Goldsmith. Company - Mustard Productions.

END

(c) Michael Spring 2008

reviewed Tuesday 19 August 2008, the Pacific Playhouse

Fringe Report (c) Fringe Report 2002-2012

www.fringereport.com