Review: Romeo and Juliet, WAAPA 3rd year Acting directed by Michael Jenn ·
Studio Underground, State Theatre Centre of WA, 16 March ·
Review by David Zampatti ·
I suffer from an unfortunate condition called Veronaphobia, brought on by a couple of productions of Romeo and Juliet so excruciating that good manners and the advice of my lawyer constrain me from identifying, other than to say that at the first the urge to flee at interval nearly overcame me, and at the second it did.
There’s a reason for the malady. Romeo and Juliet, while it is an extravagant achievement of the English language, can be a rose that smells too sweet.
Shakespeare (who, remember, was likely only 30 and six years into his career) had just discovered his mastery, and hurled it at everything he did with little restraint. For this reason his great early plays, Richard III and A Midsummer Night’s Dream among them, need to be handled with great control and command.
Lack either, and things can get very ugly very quickly.
Happily this production, performed by WAAPA’s third year Acting students, directed by the visiting British actor and director Michael Jenn, is an antidote to what ails me.
He navigates his ill-fated lovers and their squabbling families towards the West Side Story point of the compass, without working that relocation too hard (I’m okay for a character to cross the stage on a Vespa, and street knives actually work better than rapiers in Andy Fraser’s fight scenes). Kara Rousseau’s set in the Studio Underground is timeless and functional; the balcony is a platform on scaffolding that doubles as the upper levels of villas and palaces above Verona’s dangerous streets.
Most importantly, Jenn allows his young actors to attempt Shakespeare’s lyrical text (only fifteen per cent of the play’s lines are in prose) with a natural, colloquial rhythm, and this gives it clarity and accessibility.
Even Shakespeare’s most audacious conceit, the sonnet “If I profane with my unworthy hand” injected into Romeo and Juliet’s love-making, is natural and unforced, while maintaining its aching beauty.
The supporting cast give strong, distinctive performances: in particular Bryn Chapman Parish and Saskia Archer are perfectly drawn as the grasping daughter-peddling Capulets, Mercutio is given a sassy humour not always afforded Tybalt’s pincushion by Peter Thurnwald, and Ruby Maishman’s Friar Lawrence brings much more than the traditional hapless meddler in the affairs of the heart.
Jonathan Lagudi is a tall, dark and handsome Romeo, well suited to love and be loved, but the play is always Juliet’s, the “splendid” Juliet as Harold Bloom described her, the prototype of all Shakespeare’s great heroines, his too-young Rosalind-in-waiting, the girl whose bounty is as boundless and deep as the sea.
Poppy Lynch is a beautiful Juliet, sensible, determined and ready for anything love and death can bestow on, and take from, her. There’s nothing ethereal about her Juliet, and she acts her age (something too often overlooked).
It’s a fine performance that caps a fine production.
Poppy Lynch as Juliet and Jonathan Lagudi as Romeo are pictured top. Photo: Jon Green.