★★★★

“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.

FLOWERS FOR MRS HARRIS at the Riverside Studios

★★★★

“Jenna Russell slips into the title role as though it was tailor made for her, giving a performance that is as strong as it appears unassuming”

It takes its time, but the moment the curtain comes down on Mrs Harris you’ll be purring like the cat who has had more than its fair share of cream. As she stands centre stage with the memory of her late husband, we realise that the gaping hole in her heart has been filled, in the same way that ours are overflowing with warmth, born of the simple acts of kindness, love and selfless compassion. When Paul Gallico’s the novella – “Flowers for Mrs Harris” – was first published in 1958 its dust jacket read; ‘This is, if you like, a fairy tale. But of its enchantment, humour and pathos there can be no doubt… it will be loved for many years to come’.

Similar words would not be out of place in the programme notes for Richard Taylor’s and Rachel Wagstaff’s musical. Set in London during the 1950s, Ada Harris (or ‘Arris as she would say) is a hard-working cleaning lady whose clients range from eligible bachelors and society women to actresses. While cleaning for Lady Dant, Mrs Harris opens a wardrobe to discover an Haute Couture Dior dress. Enamoured and overwhelmed, she decides then and there that she will have one of her own. After a modest Football Pools win and two-and-a-half years of scrimping, her desire is achievable.

But this is never really about the dress. It is all about the human spirit. Ada Harris’ journey to Paris and back is not a material voyage, nor even a pilgrimage. It is a personal quest – of triumph over adversity and the discovery of qualities we all seek and do in fact possess if we look hard enough. This is very much brought out in Bronagh Lagan’s tender revival of the musical. Jenna Russell slips into the title role as though it was tailor made for her, giving a performance that is as strong as it appears unassuming. Old school charm is the name of the game here. Russell’s performance is a delicacy whose rich flavours linger long after curtain call.

“a sumptuous production, with Richard Taylor’s lush score eking out every emotion”

It is a quality that is shared by the whole company. While Russell is the main thread, the ensemble double up as characters from Ada Harris’ London life and also their French counterparts in Paris. There is almost a ‘Wizard of Oz’ aspect to this parallel world where the characters are distinct yet recognisable. Hal Fowler is magnificent as the reassuring ghost of Ada’s late husband, later appearing as the widowed French Marquis who finds common ground with Ada’s yearning humour. Charlotte Kennedy is truly watchable as the London based aspiring actress and the disillusioned Parisian model. It seems unfair not to be able to list them all, but mention must go to Nathanael Campbell as Bob the lovesick, shy accountant whose character is mirrored in Paris by André who finds love courtesy of Ada’s spirited intervention. Annie Wensak gives a colourfully nuanced performance as Ada’s best friend, fellow char lady and next-door neighbour Violet.

Kelly Price is the deliciously haughty yet compassionate Lady Dant, whose dress sparks off the whole story. As Madame Colbert, the troubled manager at the House of Dior, her performance is as polished as the House of Dior itself. Initially snubbing the unwelcome Ada, she and other Parisian personalities swiftly come under the spell of Ada and her magic wand. If anything, though, it is too quick and easy and the transformation of the staff at the fashion house a little hurried, which stands out in an otherwise slow-burning narrative. But it is a sumptuous production, with Richard Taylor’s lush score eking out every emotion. Seamlessly weaving in and out of the dialogue it is the essential flow that keeps the characters’ hearts beating.

Yes, this is ‘if you like, a fairy tale’. And we are in no doubt about its enchantment. A touch sentimental and safe maybe, but the warmest and most comforting antidote you could find for the oncoming autumnal evenings. Oh, and a hidden star of the show that can’t be avoided: Sara Perks’ costumes would walk proud on any Parisian catwalk*.

*The Dior gowns in the show were kindly loaned by Lez Brotherston from the original production

Tag Archives: TopShow2023

Shakespeare’s R & J

★★★★

Reading Rep Theatre

SHAKESPEARE’S R & J at the Reading Rep Theatre

★★★★

“Elijah Ferreira gives a stunning performance as Romeo.”

“a lively and rich-textured show”

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

Click here to read all our latest reviews

Flowers for Mrs Harris

★★★★

Riverside Studios

FLOWERS FOR MRS HARRIS at the Riverside Studios

★★★★

“Jenna Russell slips into the title role as though it was tailor made for her, giving a performance that is as strong as it appears unassuming”

“a sumptuous production, with Richard Taylor’s lush score eking out every emotion”