Tag Archives: William Shakespeare

Shit-Faced Shakespeare: Romeo and Juliet

★★★★

Leicester Square Theatre

Sh*t-Faced Shakespeare: Romeo and Juliet

Leicester Square Theatre

Reviewed – 14th July 2022

★★★★

 

“They know their business, and they know their audiences, well”

 

If you saunter along to the Leicester Square Theatre expecting traditional Shakespeare, you are in for a rude—a very rude—surprise. This ain’t your father’s Shakespeare. Oddly enough it is the kind of Shakespeare the Bard himself might enjoy. Enjoy—if he’d gone on a mad pub crawl beforehand, and decided to stop by the theatre to see the latest production of Romeo and Juliet. If well fortified beforehand, he’d enjoy the show—and probably not notice how the cast have changed the ending. And quite a few other things. But then, good times, fuelled with lots of alcohol, are what Sh*t-faced Shakespeare are all about. They know their business, and they know their audiences, well.

Sh*t-faced Shakespeare’s brand of Shakespeare (touring since 2010) “seeks to introduce a new generation of theatregoers to the works of the Bard by reviving the raucous, interactive and vibrant nature of Elizabethan theatre with a very modern twist.” This is one of the most accurate descriptions of a show I’ve ever seen in press materials put out by a company, and they win my admiration for that. It’s great to see such a young crowd turn out for Shakespeare in a comedy club setting. Veterans of the Sh*t-faced approach will know in advance the set up. To summarize: one of the company comes on stage as MC to announce that another member of the company has been chosen to be the drunk for the evening’s performance. Drinking heavily for several hours before the show, this performer will also be expected to drink more every time a bell or gong is struck by a member of audience. While performing Shakespeare.

On this particular evening, it was Juliet’s turn to take one for the team. But there’s not just drinking and slapstick involved here. There’s audience participation that involves acting as well. Short of a County Paris for this performance of Romeo and Juliet, a good sport sporting a “Slayer” tee shirt was selected to play the part of Juliet’s father-approved fiancé. Very appropriate. Out of this formula the cast of Sh*t-faced Shakespeare proceeds to build an entertainment that pays no attention to the tragedy of Romeo and Juliet. They just focus on the comedy instead. You didn’t know Romeo and Juliet was a comedy?

Seriously, kudos to the cast. David Ellis, Louise Lee, Jessica Brindle, Richard Hughes, Christopher Lane, John Mitton, Lucy Farrar and Stacey Norris are all seasoned soldiers of the Sh*t-faced scene, which includes knowing just how badly to mess up the best known speeches while maintaining eye contact with the audience most of the time. Amazingly enough, no one got hurt as the evening (and the drinking) progressed. These actors are tough, and experienced. It’s also impossible to know whether they have been drinking, which speaks well of their classical training. The programme reassuringly points out that company members are never expected to drink on consecutive nights, or more than four times a month. They consider themselves to be more temperate drinkers than the average West End actor.

In short, if you feel your friends need a bit more culture, and fewer nights at the pub, take them to a Sh*t-faced Shakespeare show. They will have a good time, and might not even notice that they are no longer at their local. And rest assured that the “real” Shakespeare’s reputation will survive, despite the “rough magic” dealt out by Sh*t-faced Shakespeare.

 

Reviewed by Dominica Plummer

Photography by Rah Petherbridge

 


Shit-Faced Shakespeare: Romeo and Juliet

Leicester Square Theatre

 

Previous Shit-Faced shows at this venue:
Sh!t-Faced Macbeth | ★★★★★ | July 2021
A Pissedmas Carol | ★★★★★ | December 2021

 

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Starcrossed

Starcrossed

★★★★

Wilton’s Music Hall

Starcrossed

Starcrossed

Wilton’s Music Hall

Reviewed – 6th June 2022

★★★★

 

“Gethin Alderman relishes the opportunity to show off his versatile speaking voice”

 

This ingenious new play by Rachel Garnet takes on the theme of love but rather than offer up the age-old story of Romeo and Juliet’s star-crossed lovers it runs with the what-if possibility that Romeo’s friend Mercutio and his deadly enemy Tybalt should be struck by the same love arrow. We are given not a new version of R&J but a parallel story, a tale that is there but not explored in Shakespeare’s play. In so doing, we also get a fascinating origin story for Tybalt.

The production looks and sounds Shakespearean. A simple wooden stage (Set & Costume Designer Ruari Murchison) with a central double door and doors on the left and right provide a perfect symmetry and the opportunity for quick and versatile entrances and exits. Garnet’s text incorporates lines from the original alongside her own – drawing audience laughs and sighs of appreciation when recognised – and she deserves huge plaudits that this interpolation doesn’t sound contrived. The cast of three are dressed in doublets and hose with simple accoutrements where required and obligatory rapiers at their sides.

The Player (Gethin Alderman) sets the scene, immediately breaking the fourth wall with knowing looks to the audience and gentle clowning. He will continue to do this during scene changes to remind us we are watching just the telling of a story. He is joined by Mercutio (Connor Delves) and Tybalt (Tommy Sim’aan) for a rousing three-part harmony rendition of the Scottish folk song Twa Corbies and we know our evening is in safe hands.

Philip Wilson’s masterly direction has the three actors skipping light-footedly around the stage and only towards the very end of the piece does their pace and intensity begin to wane. Gethin Alderman relishes the opportunity to show off his versatile speaking voice in the many multi-roles he fulfils: a touch of Prince Charles about Lord Capulet, a smattering of Scottish for the Friar, a bit twee for Paris, and an aggressive Londoner for the beggar Salvatore. The largest laugh of the evening is brought about by his coy falsetto for an appearance of Juliet herself.

The role of the Player ties everything together around the main scenes between the two fateful lovers. Tommy Sim’aan’s war-mongering Tybalt undergoes the biggest journey. Beginning with macho posturing and showing off his fearsome sword play, we hear that maintaining his aggressive reputation is to secure his position within the house of Capulet. It takes a surprising kiss to throw him off guard and we share his confusion as Sim’aan drops the posturing façade and brings his voice down to a velvet undertone. The power of the kiss brings out the Prince of Cat’s inner kitten and has the strength to potentially end a conflict.

That kiss has come from the wastrel Mercutio as a means to distract Tybalt from seeing and therefore fighting with Romeo (another role for The Player). In a dashing red doublet, Delves plays the wine-happy party animal just on the right side of camp. Mercutio is out for a good time and to live for today until that kiss changes his life too.

The occasional song to the strumming of a mandolin lightens the mood as Tybalt and Mercutio strive to find a future. The three actors work superbly together – there is no weak link. Garnet’s poetry is clearly projected and there is no holding back during the raunchy bits either.

Not since Tom Stoppard’s exploration of Rosencrantz and Guildenstern has there been such an audacious rewrite of Shakespearean off-stage antics.

 

Reviewed by Phillip Money

Photography by Pamela Raith

 


Starcrossed

Wilton’s Music Hall until 25th June

 

Previously reviewed at this venue:
Roots | ★★★★★ | October 2021
The Child in the Snow | ★★★ | December 2021
The Ballad of Maria Marten | ★★★½ | February 2022

 

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