Review: ROMEO & JULIET, RSC 2018, Erica Whyman

Photo credit: Topher McGrillis

One thing that makes for a good Shakespeare play is how fast time flies when you’re watching it, and despite the hefty 2 ½ hours running time, the RSC’s 2018 version of Romeo and Juliet certainly doesn’t drag. 

The Erica Whyman-directed production stars Bally Gill and Karen Fishwick as the doomed star-crossed lovers, Romeo and Juliet respectively. Alongside a brilliant ensemble cast, the pair lead this excellent production with confidence.

Fishwick’s feisty Juliet is a particular favourite. She allows the character more agency in her own decision making and her relationship with the Nurse (played by Ishia Bennison) seems more loving and deeper than her relationship with her own mother. Fishwick’s Juliet really comes into her own in the second act but delivers a strong performance throughout.

Gill’s Romeo is hot-headed and impulsive, making rash decisions without thought for the consequences. He plays him with the cockiness of youth but also manages to bring a vulnerability to the performance, allowing us to sympathise with him. 

Gill and Fishwick have good chemistry onstage and between them, they create a Romeo and Juliet that we can really route for.

Charlotte Josephine plays Mercutio, a personal favourite character in Shakespeare’s canon, and as a typically male character, it was interesting to see how this would work.  Josephine plays Mercutio with a great deal of swagger and bravado and the energy on stage lifts whenever she comes on. Her Mercutio is certainly the life of the party! There is particular pathos at her death scene and whilst it isn’t drawn out, it is still a very powerful moment. Keeping it simple allows us to focus on the heartbreak of the people around her.

Despite his integral role in the play’s plot, Friar Laurence can sometimes be a fairly forgettable character, but this is not the case here. Andrew French plays the misguided character with ease and is wonderful throughout, even bringing some comic touches to the role. His grasp of the often-difficult Shakespearean text is brilliant.

The Nurse is often considered as a comedic character (and goodness knows the play needs one at times!), and Bennison’s Nurse is just that. However, the love she has for Juliet comes through very clearly, which allows the character moments of growth and grief as she discovers Juliet has died the night before her wedding to Paris; moments that are particularly well acted.

Two characters that hardly ever get a mention in reviews of Romeo and Juliet as they’re not central to the plot, along with the fact that Benvolio disappears part way through, here Benvolio (played by Josh Finan) is finally given the chance to shine. It is enjoyable that he is given a character and agency of his own, rather than just being an interchangeable character for Romeo or Mercutio to talk to. The implication that he is in love with Romeo himself is also an intriguing view.

Mariam Haque’s Lady Capulet is brilliant. Even when she isn’t speaking, the reactions of her character as she watches what is going on around her, and particularly when she watches Juliet and the Nurse together, paired with the pain and regret she feels is palpable. A real sympathy is felt for her throughout the piece.

The transitions between scenes are seamless, aided by members of the ensemble bringing props and chairs on themselves, as well as the relatively simple staging (designed by Tom Piper) helping to tie it all together. The rotating cube centre stage and the grey surroundings help to focus our attention on the stage action, rather than distracting with big set pieces and fancy costumes. It should be reinforced, however, the youthful, urban, and gritty vibe that the performance holds. The costumes are almost entirely monochrome, echoing the modern design visuals. They are simple, allowing the cast to move freely about the stage, and youthful (hoodies, jeans, and trainers) speaking to the age of the play’s central characters. Smart dresses and suits are worn by the older members of the cast, suggesting a transition into adulthood and creating a visual divide between the youth and their parents.

The final scene of the play is perhaps its most famous. Here, it manages to avoid being overdramatic and shouty and instead feels very genuine and truthfully performed. As with Mercutio’s death, this production decides against a long-drawn-out death for its titular character and instead opts to show us and delve deeper into the responses and reactions of those they leave behind, which is much more impactful.

There is certainly room for a little more stillness and silence at points but overall, this production of Romeo and Juliet is certainly one to watch again before it leaves BBC iPlayer in a months’ time.

****’ 4.5 stars

Reviewed by: Amy Louise

Romeo and Juliet can be viewed on BBC iPlayer here.