Wednesday 10th March until Saturday 24th April 2010 @ Bristol Old Vic, Bristol

Putting on Shakespeare’s better known works these days is always a difficult job, especially the universally well known love story of Romeo and Juliet. Everyone has seen it countless times on stage and screen, everyone has an opinion and therefore you would only want to perform it if you can do something new with it. Thankfully then, this is exactly what the BOV’s new co-Artistic Director, Tom Morris, has done. In his play, our lovers aren’t spunky 18-years-old but frail 80-year-olds and the action takes place within Verona Care Home. It’s an intriguing premise and it is why every paper and cultural outlet across the land is talking about it, a feat that can only be good news for this theatre’s future.

There are so many interesting issues that have the potential to be explored with this set up – our aging population, ageism, the role of the elderly in society – but the play itself, has to be said, is a clunky fit. In an effort to highlight these issues and more all at once, throughout the evening’s unfolding story there were several square pegs that felt like they had been rammed into round holes. Instead of opting for one strong line, Juliet & Her Romeo seems to be content with a basketful of weaker messages. This flawed ambition leads to several inconsistencies across the show’s style, direction and design which, at points, makes for a confusing and uncomfortable watch: Who is the Nurse working for/who’s side is she on? What are the Doctor’s motivations? Are the Montagues and the Capulets quarrelling families, separate wards or a wider dispute between private and public healthcare? The clarity and power of the show would have benefited tenfold if they just chose one line or message and stuck to it.

HOWEVER…putting the show’s inconsistencies and severe stylistic imbalances to one side, they still manage to create some truly beautiful and captivating moments and personal highlights came when the Shakespearean text was turned on its head. Lines like; “I ne’er saw true beauty till this night” are suddenly given immense depth now they are being said by a life weary old man rather than a lusty teenager; “The orchard walls are high and hard to climb…” brings out humour that has never been there before; and metaphors of Mantua and the intimidating world outside of Verona’s walls suddenly have a new resonance. These re-invigorated snippets work well, are really made the most of and they should be the real motive behind you seeing this classical play’s reinvention.

www.bristololdvic.org.uk

Matthew Whittle www.matthewwhittleblog.blogspot.com