Theatre Trip to Romeo and Juliet, 19th November
Audiences can be tough – none more so than teenagers. However, the adaptation of ‘Romeo and Juliet’ which we witnessed on Sunday the 19th brought a refreshingly modern and innovative version of the star crossed lovers’ tale to the stage.
First of all, the backbone of the entire show was found in the ensemble. The performers showed fluidity and cooperation, such as during the party at Lord Capulet’s, or remarkably, when they marched towards the audience at the very beginning. The white suit actors wore when part of the ensemble helped dissociate them from their characters while not breaking the rhythm or illusion of the story. The musical side of the performance was an element of interest – every actor belonged to an instrument, such as Juliet and her cello, or Lord Capulet with his saxophone. The scenes were repeatedly interposed with a few lines of modern songs by members of the ensemble. This was a creative way to showcase key turning points in scenes, and set the spirit for the subsequent dialogue – however it was used a little too often, to the point that it became a distraction. However, the support the ensemble provided to the play’s structure was admirable to say the least.
Second of all, the troupe made good use of stagecraft to make things more interesting for the audience, especially given the age group. While the dialogue was Shakespeare’s, the stage, costumes and props were all modernised. Juliet became an annoyed teenager with headphones, her room sporting a Billie Eilish poster. Props were utilised intelligently, with two movable boxes becoming a bed, altar, step, or table alternatively. Lighting was also effective, changing colour according to the mood of the scene. Spotlights helped partition the characters and created powerful moments such as when a dreaming Romeo embraces a blank faced Juliet wearing black. Stagecraft, nevertheless, was also the weak point of the performance. Given the limited resources, levels were rarely used, which was especially disappointing during the legendary balcony scene. They used a creaky ladder as an alternative to a terrace, but the effect was lacking, resulting in lagging romance between the two leading roles at this essential transition in their relationship.
Thirdly and finally, the individual actors brought complex and meaningful characters to life on the stage. Casting Mercutio as a woman was a clever decision, as it shone new light on his original character and allowed the actress to interpret Mercutio differently. She is an unstable, proud woman, in a complicated relationship with Romeo. Outspoken, strong, and brutal- nothing like Juliet. As her sanity breaks, she dies for unrequited love, in the climax of her journey which is heartbreaking to watch.
To conclude, the performance of “Romeo and Juliet” given last weekend at the Hong Kong Academy for Performing Arts was brilliant in its ideas and specific characters, but it didn’t leave me with the impression that it was a play about Romeo and Juliet.
by Aemilia RICE MILETO Y10
