(seen at the afternoon performance on 22nd July 2023)
In Pamela Brown’s marvellous Childrens’ novel “The Swish Of The Curtain” (written when she herself was still just a teenager), the Bishop of Fenchester is delighted to see “Romeo and Juliet” played at their correct ages.
Rebecca Frecknall comes as close as makes no odds to doing the same here, succeeding beyond even a Bishop’s expectations.
Perhaps a little dark humour led her to select “Dance of the Knights” from the Prokofiev ballet “Romeo and Juliet” as a recurring musical motif. Far better known to most as the theme from TV game show “The Apprentice,” it is incredibly appropriate for the raw talent Frecknall is moulding here.
Running an economical two hours without a break, youthful energy is a powerful force to harness. Frecknall’s background in movement allows her to channel it by injecting “West Side Story” mass dance sequences back into the original play alongside an age-appropriate sprinting conversationalist approach to the text itself.
This creates cohesive gangs coalescing as their elders warn and worry, and lends such random unpredictability to events that a familiar tales becomes suddenly “what will happen next,” a murder scene getting the monkey inadvertently (and luckily inaudibly, it was assured) mumbling “f... no....” in surprised shock.
When, in 50 years or so, Lord Toheeb Jimoh comes to write his memoirs, hopefully this will merit a paragraph or two. A boyfriend any girl would want – infatuated, considerate, emotionally attuned and attentive always to her needs. An exponent of Shakespearian verse with ability way beyond his years, so many great roles for him to take on in future – but we got to see him here first.
On a very different emotional trajectory, Isis Hainsworth’s Juliet grows up before our eyes. A very young girl astonished at the idea of marriage. Meeting her lover, her feelings are overwhelming and result in a tantrum of emotions when pondering names and rose scents. Further along, the young woman of thought and manipulation, ultimately uncertain determination and a glorious final moment rounding off unforgettable work.
Secondary gang members Mercutio (Jack Riddiford) and Tybalt (Jyuddah Jaymes) are equally effective. Riddiford’s effervescent careless light makes his death all the more poignant as a spark truly is extinguished. Jaymes has heat and honour, with technical acting skills to carry stunningly his own exit scene through.
The focus is on youth, but there are very fine performances outside the teen angst. Paul Higgins schemes as Friar Lawrence. Confidant to all, knowing his power within the community and relishing it perhaps more than he might beneath a phlegmatic warmth.
Jo McInnes is another key keeper of secrets, a nurse understanding more of the situation and perhaps less of her charge than usual, certainly lower down the household’s esteem. Had they respected her more, would this have happened?
As it is, Amanda Bright and Jamie Ballard as the Capulets rather get their comeuppance as their daughter springs her trap. Neglectful socialite parents with eyes on the prize rather than their daughter. Promising Paris (James Cooney) is their final error, Cooney demonstrating genuine disappointment rather than the usual slightly creepy interpretation of the role.
A note too for Kieron Jecchinis as the Prince with the maintenance of order and hierarchy always in mind. More important to the structure of the production than usual, Jecchinis does well with the director’s frequent use of him as catalyst of major developments.
Streamlined and laser cut to expose the full power of first and true love, the opening coup de théâtre sets a ridiculously high standard in the first minute. From there, it simply climbs to a final scene that few directors will be able to improve on in future productions.
And no, the monkey is giving nothing away, but Chloe Lamford's design combined with Lee Curran's natural lighting, Debbi Duru's romantic outfits and fight director Jonathan Holby's intuitive understanding of teen violence will live long in the memory.
Suffice to say that a filmed version of this, set beside the much used in schools Baz Luhrmann movie would be a perfect means of igniting once more the flame of this great story within young hearts.
It can only hope that this will tread the path of her “A Streetcar Named Desire” and make the move into a West End as soon as the cast and venue are available.
5 stars, standing ovation.
Photo credit: Marc Brenner. Used by kind permission of the Almeida Theatre.