Tag Archives: Harry Elletson

Shakespeare’s R & J

★★★★

Reading Rep Theatre

SHAKESPEARE’S R & J at the Reading Rep Theatre

★★★★

Shakespeare's R&J

“Elijah Ferreira gives a stunning performance as Romeo.”

This intriguing show was written by American Director Joe Calarco in 1997. It translates Romeo and Juliet’s ‘star-crossed lovers’ into pupils who act out the play at a repressive Catholic boys boarding school. The idea of containing a play within a play was very much Shakespeare’s own. A cast of just four are all on stage together for almost the entire evening as we see Shakespeare’s ‘Romeo and Juliet’ unfold through their adolescent eyes. Maybe ten percent of the text is new, including some of Shakespeare’s sonnets, latin drill – ‘amo, amas, amat’ and words from ‘A Midsummer Night’s Dream’. Right at the start it’s established that Student 1 has feelings for Student 2 and it’s these two that take on the roles of Romeo and Juliet – in intense performances that don’t always get the approval of their fellows.

A note in the programme by Director and Company founder Paul Stacey underlines their commitment to giving voice to the under-represented including those that identify as LGBTQIA+. This powerful production does just that in a way that some may find poses a playful challenge to their expectations. And if a few traditionalists are offended by this re-purposing of such a familiar text, that is their loss.

Elijah Ferreira gives a stunning performance as Romeo. Every word is carefully weighed and delivered with exacting clarity and dedication to meaning. He uses gesture with almost telegraphic expressiveness. Brayden Emmanuel is physically much taller than Ferreira and as Student 2, his involving and energetic Juliet defies any expectation of camp girlishness.

“a lively and rich-textured show”

Luke Daniels is Mercutio, Friar Laurence and Lady Capulet. Expect theatrical fireworks from the start of the second half when Romeo learns of his banishment. Daniel also shines as Lady Capulet in the scene that follows, as well as giving his own take on Mercutio’s memorable ‘Queen Mab’ speech about dreams. Tom Sowinski has some great comic moments as the Nurse and then flips into the brawling Tybalt in the duel with Mercutio.

A clever and beautiful set by Anna Kelsey literally steams with the intensity of the drama and integrates some pleasing lighting (John Rainsforth) which adds great atmosphere to this intimate and involving studio piece. The costumes ring true whilst avoiding the colour coding of the houses of Montague and Capulet seen in some productions of ‘Romeo and Juliet’.

The play within the play employs some stylised devices to considerable effect. A shouting chorus of disapproval condemns the young lovers. Swords become ropes and cloth. Action is slowed. The boy actors (or is it the Shakespearean characters?) observe each other performing and we see their reactions to the story they are unfolding.

Jamie Lu’s sound design is strong on thunder and lightning and for those that know it, there are some touching ‘Heart Stopper’ moments as the two young lovers get together.

This is a lively and rich-textured show that was a delight to watch.

 


SHAKESPEARE’S R & J at the Reading Rep Theatre

Reviewed on 16th October 2023

by David Woodward

Photography by Harry Elletson

 

 

 

 

Previously reviewed at this venue:

Hedda Gabler | ★★★★★ | February 2023
Dorian | ★★★★ | October 2021

Shakespeare’s R & J

Shakespeare’s R & J

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Annie Get Your Gun

Annie Get Your Gun

★★★★

Lavender Theatre

ANNIE GET YOUR GUN at the Lavender Theatre

★★★★

Annie Get Your Gun

“SuRie, as the gun-toting Annie, carries the show – nailing her character with gunslinging accuracy.”

 

There could potentially be a fair bit to censure in the 1950s American musical, “Annie Get Your Gun”, especially with modern audiences whose awareness of racism, sexism and cultural sensitivities have shifted since the musical was written. And Irving Berlin’s “The Girl That I Marry” would surely get even the laziest feminist pounding her twitter feed in rage at its undisguised misogyny and condescension towards women. And throwaway jokes about swindling Native Americans out of their oil? Come on! But that is a debate I’m not entering into here. Except to say that the creators behind the inaugural season at Lavender Theatre have rightly decided that we have the wit and imagination to know that we are watching something from a different age. We can cope. And Simon Hardwick’s production, surrounded by the purple haze of lavender fields, shoots down any pre-packed misgivings that people may have in a feel-good blaze of escapism and classic entertainment.

It’s hard to come across a more winning opener than “There’s no Business Like Show Business”, which builds from its mellow summer breeze into a gusty and gutsy chorus, framing the story within Buffalo Bill’s Wild West touring show. Elliot Broadfoot’s impressive presence as Buffalo Bill Cody keeps a tight rein on the action, pinpointing the chapters of what is essentially a good old-fashioned love story. Annie Oakley (SuRie) rocks up into a small town in Ohio, and with her extraordinary shooting skills, catches the attention of champion marksman Frank Butler (Charlie McCullagh). The two are instantly smitten, but when Annie’s rising star begins to outshine Frank’s, the trouble starts.

SuRie, as the gun-toting Annie, carries the show – nailing her character with gunslinging accuracy. Gamine, yet sassily aware of her femininity, her charisma hangs over the stage like aromatic gunpowder. SuRie is clearly “Doin’ What Comes Natur’lly”. Equally believable is McCullagh’s Frank Butler. The chemistry between the two cautions us to stand back while sparks fly yet draws us in close to get a true feel for their inescapable magnetism. Drawn into their orbit are a fine cast. Frank’s spurned, scheming assistant, Dolly Tate, is gilded with Chlöe Hart’s comedic flair, while Jay Faisca’s ‘Chief Sitting Bull’ has a self-deprecating gravitas that gives a nod and a wink to the caricature he could be, yet still staying believable.

The open-air setting lends an appropriate festival feel, though more village fete than rodeo. It is as the sun sets that the magic filters through, conjured by and large by Berlin’s iconic songs. The classic foot tappers cannot fail to plant a smile on us, while the more stripped back, softer numbers dig deeper. SuRie’s vocals come into their own during “Moonshine Lullaby”, for example, or “I Got Lost in His Arms”, before rising to the duel of “Anything You Can Do (I Can Do Better)” with McCullagh – a fabulous moment of affectionate rivalry and harmonic one-upmanship.

Everybody wins. The guy gets the girl, and the girl gets her man (after learning, of course, that “You Can’t Get a Man with a Gun”). The real winners are the audience. It is a little bit out in the sticks, but that shouldn’t stop anyone making the effort to get there. “Let’s Go On With the Show… Everything about it is appealing”. The newly formed Lavender Theatre are on to a winner with this well aimed revival, that hits the mark.

 

 

Reviewed on 21st July 2023

by Jonathan Evans

Photography by Harry Elletson

 

Recently reviewed by Jonathan:

 

Once On This Island | ★★★★ | Regent’s Park Open Air Theatre | May 2023
Gypsy | ★★★★★ | The Mill at Sonning | June 2023
Robin Hood: The Legend. Re-Written | ★★ | Regent’s Park Open Air Theatre | June 2023
Stumped | ★★★★ | Hampstead Theatre | June 2023
Tarantino Live: Fox Force Five & The Tyranny Of Evil Men | ★★★★★ | Riverside Studios | June 2023
The Crucible | ★★★★ | Gielgud Theatre | June 2023
The Mikado | ★★★★ | Wilton’s Music Hall | June 2023
The Swell | ★★★★ | Orange Tree Theatre | June 2023
The Third Man | ★★★ | Menier Chocolate Factory | June 2023
The Sun Will Rise | ★★★ | Riverside Studios | July 2023
Run to the Nuns – The Musical | ★★★★ | Riverside Studios | July 2023
Operation Mincemeat | ★★★★★ | Fortune Theatre | July 2023

 

Click here to read all our latest reviews