The play begins with a group of actors meeting in their rehearsal space.
Chatting to each other in plain dress, they reassemble parts of the room: moving costume rails and picking up chairs before taking their seats in a circle. At a glance, it appears to be the first read-through. But the actors don’t have scripts in front of them. Cutting straight to Lucian Msamati delivering the prologue, the audience becomes privy to — what seems to be— a sort of preliminary discussion as the actors reflect on what is about to take place. With the Capulet household sitting on one side and the Montague household directly opposite, a pair of ‘star-crossed lovers’ take a moment to look at one another. Whether this is Buckley and O’Connor, or Romeo and Juliet, it’s difficult to tell, but that is part of its intrigue.
From the opening, the production perfectly blends reality with performance. These pared-down scenes pay homage to theatre-making in its true form while also allowing the audience to share in the creative process. Something that perhaps — without these unfortunate circumstances — would not have been possible. A masterful hybrid of stage and screen, it proves to the audience just what theatre can really achieve.
Simon Godwin has a long-standing and distinguished career in theatre. He is currently serving as the Artistic Director of the Shakespeare Theatre Company based in Washington DC and was previously Associate Director of the National Theatre and Bristol Old Vic. Some of Godwin’s most notable credits include the 2018 production of Anthony and Cleopatra and 2014’s The Two Gentlemen of Verona. But despite his expertise in stage directing, Godwin had never stepped foot behind the camera: “I never even thought to myself as someone who would even direct a film, I don’t even have television”. And yet, with the aid of Emily Burns, Tim Sidell, Rufus Norris and lead producer David Sabel, together they have created something truly remarkable.
“This fast-paced production accentuates the sense of urgency without cutting corners, as the lovers drive themselves towards their tragic fate”
At only 90 minutes long, this fast-paced production accentuates the sense of urgency without cutting corners, as the lovers drive themselves towards their tragic fate; Godwin makes reasoned, balanced choices and every moment deserves its place. The use of montages and editing speeds up the narrative, intensifying the frantic energy. During the Capulet’s masked party, which plays out as a rave, Juliet catches Romeo’s eye. She is beautiful — dressed in teal green — and seen almost chanting into a standing microphone. At the moment of Romeo and Juliet’s first touch, the scene interweaves with the couple running around the theatre, in rehearsal clothes, laughing and chasing one another. The montage emphasises Romeo and Juliet’s emotional connection cleverly by manipulating the concept of time.
“The couple’s relationship is sexual and passionate, but it is not driven by lust, which makes their love all the more convincing”
Casting Josh O’Connor as Romeo and Jessie Buckley as Juliet was a wise decision, as both actors show their capability in portraying maturity. It is possible to forget that they are supposed to be playing teenagers, for the couple understand the gravitas of their families feud while retaining a light-hearted innocence as they flirt and play. They are the living embodiment of the adage that opposites attract — with O’Connor’s brooding, attentive Romeo paired with Buckley’s fervent, slightly unorthodox Juliet. Their chemistry is electric. As Juliet sits on her balcony talking to herself, the camera pans to Romeo gazing warmly at her before smiling and lowering his head, deeply moved by her words. He quickly grabs a step ladder so that he can embrace her. Soutra Gilmour’s design is stunning and distinctly theatrical; the prodigious full moon is set as the backdrop to the scene. The couple’s relationship is sexual and passionate, but it is not driven by lust, which makes their love all the more convincing.
The cast is excellent all-round and it would be impossible to pinpoint a weak link. Deborah Findlay is wonderful as Juliet’s nurse; as a surrogate mother, she captures the kindly, maternal instinct absent in Lady Capulet. Lucian Msamati is a comforting father figure with a hardened expression as he desperately tries to do his best for the couple. The dynamic between David Judge’s relentless Tybalt and Shubham Saraf’s rational Benvolio is powerful also. The opening brawl is well-choreographed by Jonathan Goddard and Kate Waters while simultaneously highlighting the explosive nature of the rehearsal process. Only the senior authority of the Prince (Adrian Lester) can tear the two apart. Fisayo Akinade’s bold, brilliant Mercutio is an absolute delight too; true to himself, he stands firm against Tybalt’s aggression and finds a love for himself in Benvolio. Although, as a parallel to the fates of Romeo and Juliet, this too is short-lived.
Most strikingly, Godwin’s decision to assign most of Capulet’s part to Tamsin Greig is an innovative choice. By doing so, Lady Capulet becomes the head of the house. She is a stoic presence, who at first tries to play nice when she tells Juliet of her arranged marriage to Paris, but this façade doesn’t hold up for long. Her coldness — especially in her interactions with Tybalt — comes to fruition in her later scene with Juliet. Callous and unfeeling, Lady Capulet is untouched by her daughter’s pleading; there will be no rebelling against her tyrannical rule.
“The production is a celebration of creative collaboration”
Shot “on a single stage, over 17 days, during a global pandemic,” this production gave us more than we could have hoped. Authentic, thoughtful and deeply moving, it works beautifully as a film through its fluidity and intelligent use of space, but at its core, the production is a celebration of creative collaboration. As an audience, we’re reminded of what can be achieved with one adventurous idea, a group of talented actors and a willing production team. It emphasises the need for togetherness and the importance of physical contact — ideas which a contemporary viewer would understand all too well.
Romeo and Juliet is available on demand via NOW TV Entertainment until 4 May.
Megan Howe
Featured image courtesy of Rob Laughter on Unsplash. Image licence can be found here. No changes were made to this image.
