★★★★

“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.

OTHELLO at the Riverside Studios

★★★★

“the interpretation is a quick-fire and vibrant rendition”

This new take on Shakespeare’s tragedy of race and jealousy comes with quite the twist: the role of Iago is played by three different actors simultaneously. The first question that comes to mind is, why? One has to suppress the faint rising wave of scepticism as the auditorium fills up around us. There is no set whatsoever, and the feeling that this might be some sort of drama exercise is foremost in our minds. It doesn’t take long, however, for this trepidation to be completely eradicated by Sinéad Rushe’s fresh take on the play.

Even without the added theatrical device (which they term polyphonic characterisation), the interpretation is a quick-fire and vibrant rendition. The empty playing space allows us to focus on the performances which are uniformly strong among this small company. With a finely honed physicality and harmony within the cast, no backdrop is needed and, indeed, with the clear-cut pruning of the text no background is needed – such is the clarity and succinctness of the delivery.

The cast are huddled around an acoustic guitar, their own bodies percussion instruments; from which Desdemona (Rose Riley) breaks away and dances unrestrained around the space. An atmospheric opening, but the one (and only) time we do question the dramatic choices.

From the off, Martins Imhangbe is an impressive and imposing Othello. His strong demeanour is quietly controlled, sometimes a touch too soft and vulnerable, before the bemused rage finally breaks through. Riley breaks away from the stereotypical Desdemona, refusing to come across as pure and meek. Instead she is self-possessed but respectful of Othello despite the incomprehensibility of his jealousy, almost to the point of tenderness. Her rendition of the “Willow” song is particularly poignant and beautifully sung. Ryan O’Doherty is a charismatic Cassio, a bit of an enigma, keeping his true feelings under wraps beneath a trusting exterior. Not so Emilia, Iago’s wife, whose distrust and fiery outspoken cynicism is brought to vivid life in Rachel-Leah Hosker’s striking performance.

“This is a show where atmosphere is predominant”

Which brings us to Iago, and the focal point of the production. During the performance, though, the reasoning is immaterial. It ceases to be a question as it works so well dramatically. Michael C. Fox, Orlando James and Jeremy Neumark Jones are all exceptional. Individual, yet merging into one character; they are both a chorus and a trio of separate characters. They become co-conspirators, negotiating among themselves. They surround their victims, sometimes in whispers, sometimes in storms. The effect is often chilling as one man’s voice can be heard echoing in triplicate from three different spaces. Iago no longer addresses the audience, which in turn increases the impact. It is a complex and risky scenario, but in the three actors’ hands it is pulled off to immense effect.

The threatening and menacing atmosphere is sustained throughout by Ali Taie’s percussive and sinister soundscape, along with Alex Lewer’s starkly effective lighting. This is a show where atmosphere is predominant, even though we are invited also to consider the racial and political reasoning behind Rushe’s choice of the three Iago’s. Traditionally Iago draws the audience in and coerces them into being complicit in Othello’s downfall. This is no longer the case. Yes, we are aware of the device but not on an intellectual level. It is a thrillingly innovative approach, but we are so wrapped up in the performances that we forgo analysis in favour of relishing each moment, right up to the tragic and, in this production, quite plaintive ending.

Tag Archives: William Shakespeare

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

Othello

★★★★

Riverside Studios

OTHELLO at the Riverside Studios

★★★★

“the interpretation is a quick-fire and vibrant rendition”

“This is a show where atmosphere is predominant”