Romeo & Juliet
The classic tale of two star-crossed lovers battling the odds for a life together is brought to life on stage at Prescot’s Shakespeare North Playhouse. In collaboration with Graeae-who have established a solid reputation throughout its 40-years of placing disabled people at the forefront of theatre, whilst making it accessible to both audience and company- and in association with Keswick’s Theatre by the Lake, this production is Shakespeare, but not in any way that you’ve experienced it before.
It's audition day in a meta-realm, the backbone which holds together Jenny Sealey’s inclusive directorial vision. Here we meet a cohort of ten deaf, disabled and neurodivergent actors; each of whom are adapting to their current surroundings, all whilst intent on impressing on-looking eyes, and each other, to bag a part. Introductions complete, a script falls from the rafters (illuminated and sonically enhanced by Simisola Majekodunmi and Oliver Vibrans’ functional lighting and sound design, respectively.) Much to the joy and delight of the actors- it’s no surprise that the audition script is… Romeo and Juliet. Chaos ensues as each actor samples multiple roles before finally settling (ish) on a line up where characters are played in paired synchronicity, in classic iambic pentameter and BSL.
At its best, this works. Christopher Harrison’s AV Design compliments the piece no end, informing the audience of the forthcoming plot points and guiding them visually through the condensed script. However, as someone neurodivergent, the stage often felt too busy and bordered on over-stimulating. The wordless pairs emotional exchanges are often over-shadowed due to stage-clutter which feels a mighty shame considering the projected angle of direction. At times, I find myself glancing up at the subtitles more than on the action playing out on stage so as to retain focus.
This aside, the cast showed boundless energy and enthusiasm. As Nurse, Kellan Frankland’s comic timing is exceptional, and she finds home comfortably on Tim Meacock’s well-utilised and accessible stage. (The physical nod to removing barriers by use of lighting sticks was a nice touch, also.) Shreya M Patel’s versatility shines through her portrayal of both Lady Capulet and Juliet, an energy matched beautifully through Cherie Gordon’s BSL portrayal of the same character.
Gordon’s chemistry with Petre Dobre, who impresses with electric physicality in character as Romeo, is palpable and emotive. The famous balcony scene (this time performed over two upturned benches) is brought to life with a pinch of magic as the couples mirror each other in what is, arguably, one of the most famous scenes of all time. Reece Pantry’s Benvolio is played with conviction and Irmina St Catherine helps anchor the piece as one half of a BSL interpreter duo. Though it is Craig Painting’s sublime turn which is the highlight of the production. Seamlessly multi-roling whilst also serving as the other half of the BSL interpreter duo, Painting steals the audiences’ eye in many a scene.
Whilst this may not have been the ground-breaking Romeo and Juliet that the creative team may have hoped for, this pleasantly simple, non-intimidating production of The Bard’s classic tragedy certainly isn’t lacking in heart, a note Jamie Lloyd’s recent incarnation could certainly learn a thing or two from.
This show was reviewed on the 17th September 2024 at Shakespeare North Playhouse, Liverpool where the show runs until the 5th October 2024. Tickets available here: Romeo and Juliet | Shakespeare North Playhouse
Review written by Lee Gregory
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Photo credit: Patch Dolan
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