Review: Romeo & Juliet
Engaging duelling and duality in the Queensland Shakespeare Ensemble’s (QSE) Romeo & Juliet, on stage at the Roma Street Parkland until 12 September 2021. A version of this review first appeared at Nothing Ever Happens in Brisbane.
If you haven’t seen ‘a Shakespeare,’ then the Queensland Shakespeare Ensemble’s Romeo & Juliet is a highly-accessible doorway into the Bard’s work. Love at first sight ends badly for the star-crossed lovers, but results in the end of a long-standing feud between their waring families. Go along to experience the anguish of love and loss, with great fight scenes, tender romantic moments, youthful rebellion, live original music, and memorable comic interludes.
Of course, if you are already a QSE supporter then be reassured that this 20th Anniversary season is unmissable. The show runs at speed, but every word counts in this gripping production. Hats off to Rob Pensalfini, who combines a masterclass in directing with roles as music and fight director, set designer and is an absolutely compelling Friar Lawrence. The production is worth seeing for Pensalfini’s Friar Lawrence alone. But I also recommend this show for the Directors’ skill in drawing out the ‘R&’J duality—and for bringing some fabulous duelling to the Roma Street Parkland Amphitheatre.
Romeo & Juliet centres on the long-standing feud between two families—in this production, the ‘old money’ Capulets and the ‘new money’ Montagues. This same opposition is subtly reflected in much of the casting. Many of performers play more than one role, emphasising the contrasting natures of the different characters. I particularly loved the casting of Rebekah Schmidt as the pivotal and hot-headed Mercutio, counterbalanced with the commanding leadership and peacemaking of Schmidt’s Prince (Schmidt also portrayed a gloriously shifty apothecary). Equally, John Siggers is a timid Friar John, and a fabulously stylish and feisty Tybalt. And although I much preferred Angus Thorburn’s compelling ‘new romantic’ Benvolio, Thorburn’s foppish Paris is certainly at the other end of that particular spectrum.
Picture (L to R): Mercutio (Rebekah Schmidt) & Benvolio (Angus Thorburn). (Credit: Creative Futures Photography)
Picture (L to R): Romeo (Liliana Macarone) and Juliet (Sarah Doyle). Image Credit: Creative Futures Photography.
Picture: Friar Lawrence (Rob Pensalfini). Image Credit: Creative Futures Photography.
The ‘duality’ emphasis didn’t stop with providing individual actors with two contrasting roles. In my recent interview with Liliana Macarone, the actor refers to the way in which “our culture tends to pigeon-hole [… ] and limit what women can play once they hit their 40s, which in my opinion really makes this representation significant.” I wholeheartedly agree. Macarone’s portrayal of Romeo is tender, nuanced, and arguably portrayed with much greater depth that I have seen from actors who meet more traditional expectations of Romeo’s gender, age, and ‘physical type.’
What I’d describe as a de-gendering of key roles in this show provides a fascinating perspective on a well-loved tale. Macarone’s Romeo is a youthful charmer: a loyal and impetuous, romantic and rebellious young ‘punk’ (yes, I loved the ‘Bite My Thumb’ jacket!). But this is also a Romeo who is open to seeking counsel from a respected holy man. Equally, Rebekah Schmidt’s Mercutio is an over-the-top, mercurial character—the loyal friend who, when drunk, can be reckless, coarse, occasionally humorous, moody, and argumentative. Just two examples of the duality that is cleverly interwoven throughout this production.
QSE is known for casting core ensemble members alongside newer actors. Sarah Doyle’s Juliet is a beautifully-played counterpoint to Macarone’s captivating Romeo. There may have been distractions of dance and glorious masks at the masked dance, but we only had eyes for the ‘love at first sight’ moments between Romeo & Juliet. Doyle certainly took me on the journey from a youthful young love to a risky—and ultimately tragic—escape from a forced marriage.
And while I’m reflecting on the QSE’s inversion of many Romeo & Juliet traditions…. Conventions are also flipped with the use of the space. The audience sit on-stage, looking out toward the auditorium, which creates an impressively intimate experience. A chance to be very close to the action (where those fights are very realistic when you are a sword’s-length from the action), and to cherish the opportunity to see every twitch and smile of the interactions between the characters (where Pensalfini gives a masterclass in listening).
Picture (L to R): Nurse (Rebecca Murphy), Juliet (Sarah Doyle), Lady Capulet (Leah Fitzgerald-Quinn). Picture Credit: Creative Futures Photography.
And while touching on duality, it’s important not to forget the funnier moments of the evening. The cast not only convey the joy of the tender, romantic moments, but also take every opportunity to include some more light-hearted moments. William Summers is a very serious and subdued Balthasar, but Summers also has a lot of fun as a Servant who is almost always on the move. Rebecca Murphy takes every opportunity to entertain with a glorious, earthy portrayal of Juliet’s Nurse—quite a contrast to the constrained Lady Capulet (an excellent cameo by Leah Fitzgerald-Quinn)
Yes, this is a show in a park at the end of the Brisbane winter. But… really… if you have the chance then why not go along and see what your take is on this production?
This is a wonderful ensemble performance (not forgetting the important supporting roles played by Meg Bennett, Tom Coyle, Grace Lofting, and Isabella Ross). The show interweaves original music by Macarone, Pensalfini and Siggers, which is performed by the cast (not every piece hit the mark for me, but I particularly enjoyed the more ‘punk’ numbers, and concluding ‘Heaven Is Here’ song). The Director and fellow performers are also ably-supported by a strong creative team. The show is well-lit (B’Ellana Hill, Lighting Designer), the music complements the production, and the stage management team are slick and professional. And not forgetting the costume highlights (from Leah Fitzgerald-Quinn, Costume Designer) included Friar Lawrence, Romeo (that jacket!), Mercutio (suitably quirky), and Lady Capulet’s ensemble.
Happy birthday, QSE, and best wishes for the rest of your 20th year. Romeo & Juliet is a great way to start the celebrations.
PS: I see that Rob Pensalfini is giving UQ’s 2021 Lloyd Davis Public Lecture, ‘Wherefore should I stand in the plague of custom? Re-democratising Shakespeare.’ A fascinating opportunity to discover how Shakespeare is being applied in a modern context to help incarcerated and at-risk youths—and learn more about Shakespeare.
Verdict: Duelling and duality; absolutely worth the price of admission.
Audience tip: Get tickets while you can, and arrive early as the show Brisbane’s weather is forecast to be warming up nicely during the run, but check the weather in case you feel you’ll need a jacket. The Queensland Shakespeare Ensemble’s Romeo & Juliet is at The Amphitheatre in Brisbane’s Roma Street Parkland from 26 August to 12 September, 2021. 15+ sexual references, and representations of suicide and death. For tickets and more information, visit the QSE website (Adult $36, Concession/ Preview $28, Group Bookings of eight-plus $28 each, and School Groups $25each with one free for teacher/s per ten tickets).The programming includes a Relaxed Performance on 4th September (2pm), and a post-show Q&A after the 1st September performance.
The reviewer attended the Thursday 26th August 2021 7:30pm preview. Pictures Credit: Creative Futures Photography. A version of this review first appeared at Nothing Ever Happens in Brisbane.