Review: EUSC's Romeo and Juliet

EUSC, Romeo and Juliet

Rating: ★ ★ ★ ★

Putting on a play as iconic as Romeo and Juliet is no mean feat, and I entered Pleasance Theatre wondering how Salvador Kent – directing his debut Shakespeare play – and assistant director Florrie Prichard Jones would handle the four-hundred year-old material. Fortunately, the EUSC’s production was bold and blood-soaked, showcasing imagination while remaining (mostly) reverent towards the text.  

Strong actors made up a complimentary cast. Anya McChristie embodied the  female lead with deft humour and was endearingly youthful; she also brought a great deal of energy and pathos to emotive moments, impressing during Juliet’s soliloquy prior to drinking Friar Laurence’s potion, an unsettling moment that was augmented by the appearance of a shrouded Tybalt (Dylan Kaeuper), Banquo-like, onstage.  McChristie’s performance was skilfully complemented by Sam Gearing’s pensive and melancholic Romeo, the undeniable chemistry between the two no doubt  authenticated by their offstage relationship.  

Many scenes were enhanced by the ensemble and supporting characters,  with Rishi Bhardwaj and Leonardo Moretti-Rando (playing Abraham and Balthasar)  adding realism and visual interest with their background banter. Reuben Stickland must also be commended for his performance as Peter, garnering much of the audience’s laughter. Ad libs were included judiciously, particularly by Rufus Goodman, who played an assured and sympathetic Benvolio. Every character conveyed complexities, which allowed the theme of youth to shine. Kaeuper played Tybalt with an atypical anxiety and Will Grice’s Paris shifted from instances of subtle humour to credible fear at Juliet’s “death”; we were fully able to believe a grief stricken Prince Escalus (Sebastian Schneeberger) when he declared that ‘all are  punished’ by the tragedy.  

Kent made a series of inspired choices, notably placing the interval mid-scene after Mercutio’s fatal stabbing. This created a genuinely unsettling change in tone as the narrative spiralled into tragedy, and while it did make the runtime of the second  half hefty, this can be overlooked due to the emotional impact, increased by Noah Sarvesvaran’s acting: Mercutio is a role that often allows talented actors to shine, and Sarvesvaran rose to the occasion with an engagingly physical performance.  

One directional choice that leaves me less certain was the treatment of the Nurse, who was played more seriously than usual, seemingly in a bid to highlight the overlooked marginalisation she faces. While this was an admirable undertaking that added psychological depth, she inevitably lost some of the bawdy charm that has made her a favourite among Shakespeare’s female characters. However, this  interpretation was handled well by actor Isabella Velarde, who displayed convincing physicality, good comic delivery and a praiseworthy emotional range. 

There were also, unfortunately, a few instances of lines being lost due to under-projecting or delivering away from the audience in a theatre space that is sadly not known for having the best acoustics. This led to the occasional lack of  clarity in comic moments and a loss of information during busy scenes such as the Capulet ball, but was not ultimately a glaring issue.  

Much of this production’s strength came from its technical elements. The  smoothly integrated sound design, devised by Ella Catherall, contrasted jazz with sombre choral music to highlight the change in mood throughout the narrative, and subtle birdsong during the “balcony scene” transported the audience to the hush of  an orchard sunrise.  

Fight scenes were well choreographed by Rebecca Mahar (assisted by  Cooper Mortlock), with the infamous duel between Romeo and Tybalt coming off as especially inventive. Mary Angélique Boyd’s somewhat atemporal costuming gave the atmosphere a modern edge and tied in with the soundtrack’s jazz elements while – refreshingly – allowing us to stay grounded in Renaissance Verona. Capulet and  Montague (Tai Remus-Elliot and Hal Hobson) sported garish clown makeup, which added ironic depth to the idea of their being ‘both alike in dignity.’ 

A particular strength was Jack Read’s lighting design, which seamlessly shifted from soft and hazy during Romeo and Juliet’s tender interactions to sanguine and distressing. The use of colour stood out against Ben Kay’s simple set design, which included a platform that perfectly spotlighted high-stakes moments and, along with a staircase and balcony, allowed actors to utilise levels. I also enjoyed the frequent and professional use of fake blood, which elicited gasps from audience members upon Juliet’s suicide.  

Ultimately, Romeo and Juliet was the focused, stylish and impactful result of  an ambitious undertaking. Despite its minor flaws, this production was filled with ‘violent delights.’