Pilot Theatre and York Theatre Royal combined forces for this production though the cast was only eight strong. Staging was ingeniously minimalist, with a blue neon light on the central area of scaffolding being used most effectively to highlight Juliet’s boudoir-cum-balcony.
The Friar, played by Richard James-Neale, who doubled as a hesitant Tybalt, was so closely based on the modern film version he even had the tattoos! The doubling of characters no doubt saves money, but does make the production feel a bit like a school play. Louisa Eyo was brilliant as the nurse, but stilted as the Prince; Chris Lindon was a volatile Mercutio, but a cardboard Paris.
The company did experiment and some ideas were good. Rachel Spicer was a stroppy teenager of a Juliet whose body went from awkward to lissom once she’d met Romeo. One year 10 student told me ‘she speaks in B-flat throughout’, which I thought rather apt.
My biggest criticism – and that of the students – was the over emphasis on the sexual wordplay, with so much thrusting and gyrating that it became really tedious. Thankfully this eased in the second half. As visual stimulus to classroom study, this production does the trick, but it is not the definitive version.
Pilot Theatre’s Romeo and Juliet is on tour until April 9. See www.youkissbythebook.com