Smokin’ hot R&J at Bard
by Christopher Key
“Hormonal” was the word that kept popping up on my inner
screen as I watched opening night of Romeo
and Juliet at Vancouver, BC’s, Bard on the Beach. This is a very good thing. Too many directors forget that the
star-crossed lovers are teenagers and full of what people used to refer to as “juices.” Those metabolic demons are what powers
puberty and lead young people into making oft-disastrous decisions.
Kim Collier is not afraid to unleash those demons onstage
and the result will make your hair, among other things, stand on end. Quite frankly, R & J has never been one of my favorite Shakespeare plays. This production raised it several notches in
my estimation because all of the elements come together in a way that is truly
synergistic. That’s why the techies get
first billing.
I’m not sure why Pam Johnson’s set, reminiscent of Soviet
brutalist architecture, works so well in the context of romantic Verona, but it
does. Nancy Bryant’s sensuous costumes
are a complete contrast and maybe that’s what modifies the harshness of the
set. Certainly Brian Linds’ sound design
is essential to the mood. Ranging from
raw percussion to electronica to industrial rock, the soundtrack grabs you by
the short ‘n curlies and never lets go.
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| Photo credit - David Blue |
Vancouver native Andrew Chown delivers a Romeo that gives
new meaning to the phrase “testosterone poisoning.” His acting chops are solid, but it’s his
athleticism that will astound you.
Whether it’s a prodigious leap toward Juliet’s balcony or a running
handstand against a wall, Chown forcibly reminds us of the male persuasion how
much fun it is (was?) to show off for a girl.
Not to mention the accompanying adrenaline rush from doing something
really stupid.
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| Photo credit - David Blue |
Hailey Gillis’ Juliet is eminently worth showing off
for. There’s a theatrical axiom claiming
that by the time an actor is capable of portraying Juliet, she’s too old to
look the part. Gillis puts the lie to it
by thoroughly capturing the giddiness of estrogen poisoning while giving a
mature performance. R & J is all about such contradictions.
Romeo’s homies, Mercutio and Benvolio, are played by Bard
vets Andrew McNee and Ben Elliott with the adolescent edginess that defines
this production. Their fight scenes with
Tybalt and his Capulet cronies are frighteningly authentic, for which we can
thank Fight Director David McCormick.
Anton Lipovetsky portrays Tybalt with a sneering sense of entitlement
reminiscent of certain political figures.
You’ll want to run him through as much as Romeo does.
The Nurse is one of those Bardish characters that can run
away with the show if played well. Bard
fave Jennifer Lines plays the role in this version and I really don’t need to
say much more than that, do I? How about
bawdy, bumptious and brilliant?
Another Bard fixture, Scott Bellis, plays Friar Laurence
with a hip sensibility reminiscent of a Doonesbury character. The massive headphones are a delightful
touch.
As always at Bard, the supporting cast is bulletproof (if
not swordproof) and that’s all of a piece when the whole becomes greater than
its parts.
It really doesn’t matter how many times you’ve seen Romeo and Juliet and all its
spinoffs. This production will give you
a fresh perspective on the old story and that’s what Bard on the Beach does
best.
R & J performs
in repertory with The Merry Wives of Windsor
on the BMO Mainstage through September 23.
For showtimes, see the Bard on the Beach website. You can purchase tickets there, as well.
Do keep in mind that it is Junuary and dress accordingly.
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