Old Mill's Romeo & Juliet, directed by Stephen Lee

I went to see this production Saturday night, after Friday's unfortunate washout. I believe the cast were more than ready & raring to go, and the show did not disappoint. The first thing I'd like to suggest to readers is: go! The second (& before you do go): read Labrug's post http://www.theatre.asn.au/green_room_gossip/where_is_romeo_and_juliet, explaining exactly where it is being performed. I didn't, & after finding the helpful sign on the theatre door, ended up sprinting from the South Perth Heritage Precinct to the foreshore, making it just in time to snag a lovely bit of lawn. Next must follow my disclaimer: I am friends with some of the cast & also performed in Marloo's production of the same show in 2007. I will try to avoid any bias... I very much enjoyed the production, which was directed and performed in a manner well suited to the open-air performance space. In particular I felt that the asides being performed directly to the audience worked very well to draw us into the minds of the characters. The set & lighting were designed to be simple yet versatile, and worked quite well. The only scene where the lighting/set did not work for me was Romeo's visit to Juliet in the monument. Shadows obscured Romeo for a lot of this scene, although he could be seen when he finally bent down to be closer to Juliet. Costumes were appropriate and looked good, however I'm pretty sure I noticed trousers underneath one female performer's gown. It did get chilly during the evening, but perhaps tights (and even leggings) would have been better. Sound was good - I was impressed that the performers were generally quite audible in the open air, even with picnickers & partiers carousing nearby. I saw that there was a mike downstage centre, but the amplification was never obtrusive. I do wish however that I could have heard the medieval orchestra Trio Grosso a bit better - the venue was not as kind to them as it was to the actors, but what I did hear was lovely & helped greatly to set the scene. The fight choreography by Andy Fraser was exciting, well-performed, and told a story of its own. Performers seemed well-practiced and comfortable with their fighting. I particularly enjoyed the fight between Tybalt and Mercutio - especially the way Mercutio taunted Tybalt, spurring him on to furious vengeance. The cast was quite strong as an ensemble, and their performance showed good understanding of the text. Some individuals stood out in particular for me - in no particular order: Derek Clauson as Tybalt - his stillness, text interpretation and ability to pause and let the moment work gave Tybalt the menace he required. Julia Dalby as Sister Lawrence - casting a woman in the role worked very well for me, adding additional layers of a woman's insight and mothering instinct to the role of counselor to the fated couple. The history of Sister Lawrence's frustrating yet loving relationship with Romeo was quickly and clearly set out from their first exchange, and her gruff concern for his and Juliet's wellbeing revealed her conflicting emotions as they evolved. Sarah Isaacson and Drue Goodwin in the title roles sparkled with charming rash youthfulness. I do think, however, that they could have explored the depth of their characters' love and grief a little further, and I was left wishing they'd allowed the audience to witness more of their passionate feelings. At times I did feel other characters could also have more exposed, rather than demonstrated, their love, anger, grief, humiliation. This for me would have been the perfect contrast to the broad comedy and frank asides which worked so well. Jeff Watkins and Krysia Wiechecki shone as Mercutio and Benvolio, respectively. I mention them together because together their performances lit up the stage. Their bawdy wordplay (and then some!) brought to life what I believe Shakespeare intended with the naughty bits - broad belly laughs and a respite from all the ever so sincere sufferings of their friend Romeo & his girlfriend. Casting a woman in a male role was exceptionally apt here, and not only to help "explain" the rude bits for us. Benvolio's conflicting feelings of desire and mateship added a lot of interest in their relationship for me, and I really felt for her as she realised Mercutio was truly dead. Lastly among a very talented cast, I must also mention Cameron Clark as Peter, who managed to add a lot of humour and personality to a smallish role, without drawing focus inappropriately. Overall, a very entertaining, accomplished and thought-provoking performance - do head to the foreshore and experience it for yourself!