This show marks the end of a twenty year association between
Perth and Class Act Theatre, founder and driving force Angelique Malcolm
deciding to head eastwards at the end of the year. Class Act has always been
notable for making the great Bard’s works accessible to a wider audience and
this is no exception.
Here, Will.i.am Shakespeare’s famous tragedy is given a
re-imagining with a decidedly hip hop flavour which will no doubt catch the
attention of a younger audience. It’s an interesting stylistic choice and one
that infuses the play with an energy and playfulness that works surprisingly
well in the first act before largely disappearing in the second. As it must as
the tragedy unfolds. I’m still undecided about this as I enjoyed the first half
so much and missed the unusual flourishes as a more traditional rendering
occurs in the second act.
The set is littered with milk crates, a shopping trolley, and
refuse as two homeless people watch the action (Malcolm and Stephen Lee, both
of whom also play the Sister and, most amusingly, the Nurse respectively). The
Capulets and Montagues loiter in the wings. At the rear of the stage is a torn
white sheet where the occasional narration of (Perth based lyricist) Ryan ‘Trooth’
Samuels is projected. The upper tear in the sheet will provide the setting for
the iconic balcony scene.
What follows is the use of certain passages of text performed as rap with
recorded musical support by the aforementioned Trooth and Loftee Beats who are
co-musical directors. Lucas Marie adds
impressive interludes of breakdancing or 'bboying' as it’s referred to in the
program. The cast are attired in modern clothing that reflects the hip hop
aesthetic.
The standouts in the early going are Daniel Buckle as
Mercutio who adds a real sense of mischief while Jessica Messenger is a
feisty Benvolio. Lee initially provides comic relief as the Nurse and his song
and dance number was all kinds of brave and funny.
Nick Pages-Oliver plays Romeo with a twinkle in the eye and
there is a lot of sly humour here. The well-built Rubeun Yorkshire makes for a
menacing Tybalt and the rap-style fight between the two works well. Our Juliet
is Maja Liwszyc who was excellent in the last Class Act production I saw
(Frames) and excels again here. She conveys strength in opposition to her
mother and father’s wishes (Katya Shevtsov and Zane Alexander) while displaying
a real sweetness and joy in her love for Romeo. The cast is rounded out by Josh
Walker as the rival suitor, Paris.
What adds to the first act working so well is that the
actors are never off stage and add spontaneous laughter and catcalls from the
wings that enhanced the sense of play. The company had genuine chemistry with ‘in the moment’ interactions. I was really enjoying the humour and fresh
take on such well known material. Again, by necessity, the chorus falls silent after
the intermission.
I confess I enjoyed Act One more then the second and this is
a long play. The fusion of the classical text with rap and hip hop was an
interesting one and I thought worked well. Its absence was all the more notable
because of its uniqueness. That’s not to say the second half isn’t without its moments
with Liwszyc in particular strong.
Directed by Helen Doig, hopefully this production will
attract a new generation of young audience members who will become acquainted
with one of Shakespeare's masterpieces. I also wish Angelique Malcolm all the
best as she braves new frontiers in Melbourne.
Romeo and Juliet is on at the Subiaco Arts Centre until 13
September and then down at the Mandurah Performing Arts Centre 18-19
September.
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