Northern Ballet: Romeo & Juliet (2024)

You can tell its been a good production when I'm inspired to write a blog for the first time in 3 years!

I can't profess to know much about ballet. I enjoyed productions of Swan Lake and the Nutcracker as a child, but apart from the odd local production here and there I don't have much experience of the art at all. One thing I do know, however, is Shakespeare's Romeo and Juliet. I've written about this play at university, and have seen several productions including film, professional/national theatre, and local interpretations.

Photograph by Guy Farrow featuring dancers Amber Lewis and Joseph Taylor. Taken from Northern Ballet's website: https://northernballet.com/romeo-and-juliet

One thing that really struck me about the choreography of Northern Ballet's recent production was the intentional movements to bring to mind certain lines of the play. One of my favourites was the use of the two lovers' palms pressing together and moving in unison, as "palm to palm is holy palmer's kiss." The intimate choreography would portray romance to any onlooker, whether they know the language of the play or not. In the famous balcony scene, the consistent touching of one another's faces is reminiscent of the imagery, "O' that I were a glove upon that hand that I might touch that cheek." They even had a good smooch, reminding audiences that Romeo does "kiss by the book!"

This interpretive style was used consistently throughout with other characters too: Tybalt's status as "Prince of Cats" was reinforced by cat-like gestures and hisses from the ensemble, and Mercutio's bawdy approach to life was reflected in his suggestive and playful motions. The contrast between the two characters was reinforced by costume, as Tybalt's black leather-look outfit had details akin to amour, while Mercutio's bright costuming included a yellow striped legging such as a jester might wear. This made for a striking fight scene between the two characters who were so visually juxtaposed against one another. 

Production photos by Tristram Kenton and Emily Nuttall (https://northernballet.com/romeo-and-juliet)

The themed costuming made clear to the audience which character was from the house of Capulet (wearing black) or the house of Montague (wearing white/pale). The only exception was Juliet and her girls, who were dressed in white to portray their innocence and youth (at least for the most part, as in one of the final scenes Juliet was symbolically given a Capulet-style black dress to wear). Juliet's Nurse also wore a different outfit, although still on Capulet theme: a red dress, which was accessorised with a black cloak when she needed to sneak a message to Romeo. 

These contrasts continued in the music, as you would expect, and in the style of dance. Romeo and Juliet's scenes felt light, intimate, and delicate. The scenes with the Montagues felt cheeky, playful and often incorporated humour, particularly in the first half of the performance. When the Capulets performed, they had an air of command backed up by music that had strength and power. Sometimes productions of the play are not as clear as they could be when presenting the two houses, but Northern Ballet hit the nail on the visual and musical head with this adaptation.

Suffice to say I will be looking out for future Northern Ballet productions - and I might drag my husband to other Shakespeare inspired ballets too, lucky him!

A Midsummer Night's Dream

Set in the beautiful Lincoln Lawns, outdoor Shakespeare is bound to be a treat. Presenting A Midsummer Night's Dream in such stunning a setting at sunset is a recipe for true magic. 

The setting of A Midsummer Night's Dream. Photo taken Jamie Marcus Productions' Facebook page: from https://www.facebook.com/jamiemarcusproductions/photos  

The cast were terrific, each perfectly chosen for their role and the chemistry between them was spot on as they bounced off each other's energy. The charming Oberon commanded the stage whenever he appeared, giving a real air of authority to the role. He instructed Puck, who was mischievous and animated yet clearly devoted to his Fairy King. Titania brought sass to the role - she was Queen of the fairies and she knew it. Bottom is perhaps the most fun character to play but the most difficult to pull off, yet this Bottom was as hilarious as could be while still evoking feelings of sympathy. The mechanicals stepped up to match him with their own colourful personalities and the production of Pyramus and Thisbe left audience members in fits of laughter. The four lovers had fantastic timing and physical theatre skills, bringing out the comedy and emotion in Shakespeare's lines while following the fast pace that their scenes require.

It was brilliant to see the stage from Wind in the Willows being adapted for this play. The riverbank of the daytime was transformed into a magical woodland with very little effort thanks to the surrounding trees and setting sun. The costumes added to this: although vibrant and colourful, the forest tones of the fairies' outfits contributed to the overall atmosphere and made it feel like you were watching woodland nymphs go about their nightly mischief. 

It is impossible for me to write about a Shakespeare production without a word about that particular production's relevance. A Midsummer Night's Dream is a favourite among directors, performers and audiences as it is rich with possibilities - the magical element makes it feel like anything is possible. This director chose to keep casting straightforward, only swapping genders for characters such as Puck and the mechanicals where it doesn't really matter, and the text itself was uncut and unchanged. This gave the production a traditional feel, keeping things as per the text without any distracting gimmicks. In today's times, bringing this play back to basics felt poignant and desperately needed: right now we want familiarity and security, and something to simply make us laugh without having to think too hard about it. 

This play was a celebration of theatre, laughter, and being together. A real treat and a true triumph, and everyone involved should be incredibly proud.

Wind in the Willows

Finally, we are able to see live, in-person theatre again! And what better place to go than to the beautiful Lincoln Lawns? This week, Jamie Marcus Productions and The Blue Room co-present the Wind in the Willows - and it is the perfect remedy after over a year of putting things on hold.

The play is a family-friendly length of just 70 minutes, but it is filled to the brim with vibrant costumes, fantastic modes of transport, and of course our favourite characters who were all presented so beautifully. Subtleties in their costuming and body language was all that was needed to portray their respective animals. Each has a huge personality, with Mole (Samantha Tootell) beginning as a shy, stay-at-home mammal while Ratty (Stevie Catney) loves going out to explore - especially in his boat! This pair kick-off the adventure and their friendship shines through the entire play.

Along the way we meet an array of wonderful characters who are supported by a fabulous chorus. The distressed Mrs Otter (Laura Martin) is desperately searching for her son; Toad (Jordan Shiel) is too fabulous for his own good; the wise old Badger (Jake West) comes to save the day and restore order. Chief Weasel (Kate Newman) provided a fantastically villainous contrast as she commanded her bumbling crew of stoats, giving the audience great booing and hissing opportunities.

The situation of theatre on the lawn was a joy for the audience, as adults and children alike were entertained in the glorious sun. After the show, the cast members allowed the kids (and adults!) to meet them and have a photo opportunity. Everyone was having a great time, and this is definitely a show not to be missed! 

NT Film: Romeo and Juliet (April 2021)

I've hesitated about writing this review. I prefer to assess a play rather than a film, and this was advertised to us as a film recorded in a theatre. Absolutely, theatrical elements are thrown at the viewer throughout the production, many of which I will enjoy discussing in this blog. Yet, the effect of a film, no matter how theatrical or Shakespearean, will always be different to the effect of live theatre.

For a start, the immediacy is changed. When watching a play, the audience has a real sense of this is happening now, even when watching a live broadcast (although this effect is best when you are in the audience next to the stage). With films however, we get a sense of this is pre-recorded. A great film will make it feel more immediate, but we always go into a film with the knowledge that there will be different angles, different takes, even different days all edited together to make up the version that we as viewers are presented with.

I realise this all sounds very biased and pro-theatre, even anti-film. I enjoy films as much as the next person, of course, and there are some films that just cannot be achieved on stage in the same way. I would even go as far to say that there are some Shakespeare films that are bloody fantastic and work better than some theatrical productions I have seen. But Shakespeare on film is difficult. It was written 300 years before the first film came out, and 400 years before the types films that we are accustomed to today. Editing is necessary, and certain theatricalities just don't translate very easily.

That said, I was very excited when National Theatre announced a new Romeo and Juliet - especially starring Josh O'Connor (I've been loving The Crown on Netflix). Let me start by saying what I loved about the film. 

Photo taken from National Theatre's website: 
https://www.nationaltheatre.org.uk/shows/romeo-and-juliet-film

1. The intimate atmosphere. This is something that film does better than theatre. Thanks to close-ups, camera angles and narrow alleys created on set, the whole production felt close and almost private. You have a real sense of watching without the characters knowing - the polar opposite of what many of Shakespeare's characters go through. Romeo and Juliet's relationship was steamed up by this intimacy, but we also got up close and personal with the likes of Tybalt and Mercutio in the fight scenes, revealing the anger and pride on their faces and allowing us to watch as it turns to pain.

2. Tamsin Greig. I mean what's not to love. I'd recently seen her as Malvolia in Twelfth Night in which she was absolutely fantastic and presented Malvolio to me in a new light. I was sort of surprised when I saw that she was to play Lady Capulet - I hadn't considered the role to be very big - but as the play progressed I realised why. Many of Lord Capulet's lines were also given to her. In a genius move, the stereotypical family hierarchy of mean-father-controls-daughter was completely removed from the play, I think for the better. We know that mothers can be controlling too, and something about this change made her character feel fresh and modern. By having both parents' lines, Greig was tender and maternal when Juliet obeyed, yet cold and tyrannical when Juliet refuses to marry Paris. As a result Lord Capulet shrank into the background and became more of a passive figure, but the twist was intriguing for anyone already familiar with the play and allowed Greig to shine in this commanding role.

3. Juliet's bedroom speech. Wow. For me, this was Jessie Buckley's shining moment. An element of theatricality was brought into this monologue - for how else can a monologue be convincingly achieved - as Juliet's bed was moved away from the set and all other actors circled around her to watch. Her speech was delivered as what I can only describe as an anxiety attack, questioning every person involved and how this plan could go horribly wrong. Her pacing was perfect, lingering on each cause for anxiety just long enough for the viewer to consider it before moving onto the next tragic possibility.

However, there were some elements that just didn't work for me.

First of all, the drastic cuts. I've seen a review that calls it "Romeo and Juliet cut in half but twice as good" and I have to disagree. How can taking all the comedy out of the play possibly improve it?! For me, a key point of the play is to have the happy, comedic, everything-is-fine first half, then BAM Mercutio dies and its all doom-and-gloom tragedy from there. You're not supposed to feel impending doom right from the start, that's what Hamlet is for. 

Next, the love interest between Benvolio and Mercutio - don't jump to judging me because one thing I'm not is homophobic. I'm all for extra romances and gender swaps etc to speak to the LGBTQ+ community, and theatre is a fantastic way to celebrate this because ultimately theatre celebrates being human. BUT. In this particular production, it felt like a box ticking exercise. Both Mercutio and Benvolio had had their lines drastically chopped, and their characters suffered for it. You don't have time to get to know Mercutio before he dies (no, the Queen Mab speech alone is not enough), and Benvolio felt like more of a background character. Giving them a romantic subplot just did not make up for this, and in a film that is already restricted by time I feel they could have added something more effective instead. What, you ask? Try more of their lines.

Finally, and I hate to return to this, but putting Romeo and Juliet in a film doesn't always work. Yes, you get intimacy, but you also get access to how ridiculous the story actually is. Baz Luhmann gets away with it with his fantastically bizarre adaptation, and the Olivia Hussey version was exceptional. But when the actors (as brilliant as they may be) are not teenagers and it is played naturalistically, the whole story becomes difficult to digest. Combine that with the cuts to shorten the time they have to fall in love even further (Romeo only has two lines from when he sees Juliet to fall in love with her) and it becomes more and more implausible. Godwin attempted to fill these gaps with montages of Romeo and Juliet chasing each other around the stage, but it wasn't enough to justify how they fell so madly in love and why the consequences are as extreme as exile and death. In English theatre, sense rarely prevails, but it is asking much more of the viewer to follow Shakespearean reasoning in a modern film. 

NT Live At Home: Twelfth Night (2020)

I've been terrible at writing reviews lately thanks to lots of changes in my life, but I recently watched National Theatre's production of Twelfth Night starring Tamsin Greig. It was a phenomenal production for many reasons (hello, incredible set design), but rather than write a review gushing over how amazing it was (definitely 5 stars from me) I thought I'd focus on the element that interested me the most: Malvolia.

Tamsin Greig as Malvolia. Photo taken from:
https://www.comedy.co.uk/tv/twelfth-night-nt-live-2020/

Casting a female Malvolia, on the surface, feels like any other gender swap: interesting, modern, revealing. For me, Malvolia was all these things and more, and the consequences this might have for a modern audience are very exciting and multifaceted.

Traditionally, Malvolio's malcontentedness is wrapped up in class. He can be seen as an archetypal Malcontent, an outside character who is dissatisfied with the social structure and provides a commentary on the play and by extension on wider society. The irony is that he is an outsider as far as the other characters are concerned, but he is designed to be the most relatable and entertaining for the audience. Of course, Malvolia still does all of these things - the lines were not changed except for a few pronouns. But by changing the gender of the character, an extra layer was added and suddenly Malvolia represented so much more than class.

Gender speaks to today's society perhaps more than class. Looking at the Royals as a modern example, Kate Middleton was wholeheartedly accepted into the Royal family despite her being classed as a 'commoner' by the media at the time (though we all know she is far from common).

As an actor, Greig was fully aware of the implications of portraying a female Malvolia: "I was very nervous of making Malvolio a woman and therefore a lesbian, considering what happens to the character in the play, which is monstrous" (quote taken from her interview with the Guardian, https://www.theguardian.com/stage/2020/apr/20/tamsin-greig-malvolia-twelfth-night-national-theatre). But I think that is precisely why this gender swap is so important. What happens is monstrous, and this production made an effort to point this monstrosity out to the audience.

Having an older Malvolia - perhaps of the generation between typically homophobic and LGBT accepting - gives the character a complex subtext. Gay marriage only became legal in the UK in 2013, and it was as recent as 1967 that consensual homosexual acts were legalised. The need to hide her feelings is fitting for Greig's character, and perhaps relatable to members of the audience who went through (or may still be going through) a struggle with their sexual identity due to the cultural pressures they grew up with. 

On top of the Malvolio-Malvolia switch, Fabian becomes Fabia and Feste is also female. The attacks on Malvolia are therefore attacks done by other women, again highlighting an area of society that is often not talked about: women can be incredibly cruel. 

RSC: Young Bloods (16/01/21)

I haven't reviewed anything for a while. That doesn't mean I'm not watching theatre - where lockdown has allowed, I've streamed shows and watched clips and enjoyed theatre and the arts where I can. I simply haven't been in the right headspace to actively write about the performances I've enjoyed. Somehow my voice hasn't felt relevant.

Young Bloods was all about the power of your voice. Whether that is orating to a crowd of people, exploring a character's voice, or speaking to friends and family: your voice matters. Your opinion matters.

Photo taken from the RSC Instagram: @thersc

This theatrical experiment (I'm calling it 'experiment' because, for me, that is what it was. It felt more like watching a rehearsal than watching a polished performance. This isn't a bad thing: theatre is about experimenting). So yes, this experiment really sparked something in me. I found myself arguing with it in my head as the show continued, and wanting to talk about it with people afterwards. This feels like an achievement.

The premise of the show was to take the voices of young people and relate their opinions to extracts from Shakespeare. For example, one young person spoke of LGBTQ+ rights, so the actors took the famous balcony scene from Romeo and Juliet and cast Juliet as a male character. Within this speech, Juliet asks "what's in a name?" and this really spoke to the issues of identity that the LGBTQ+ community face today as society attempts to label and un-label them. In another example, the young person spoke of racism and xenophobia, and the actors responded with Shylock's speech from The Merchant of Venice, in which he explains that Jews have "hands, organs, dimensions, senses, affections, passions," just as Christians do. Thus, a correlation between Shakespeare's words and the words of the young people of today was formed through experimental theatre.

The result in my mind was conflicted. At once, I wanted to agree, to shout yes, we need change and we need people to stand up for what they believe in. But at the same time, a certain naivety was revealed. One of the young people said that generations before us have ignored these issues, and that our generation is being left to clean up their mistakes. She was speaking about climate change, and the actors responded with one of Titania's speeches from A Midsummer Night's Dream. Fast forward to a more recent character, and we see that Sir David Attenborough has dedicated his life to caring for the planet, putting a tremendous effort into persuading people to do better. 

I'm not disagreeing with the young person's sentiment as I completely agree: climate change is urgent, and we must change our ways and do better, but it is not a new issue. Rights for minorities, protection for people and animals, the top 1% getting the best while the rest of us suffer for it - these are all issues which have been raised and fought over for centuries in one form or another, in one society or another. Shakespeare is a useful tool for bringing awareness to new issues, but we can also use literature to reflect on our own history and recognise patterns in our politics and attitudes. 

What to take from this? Whatever you like. 

NT Live At Home: Frankenstein

National Theatre decided to give theatre-goers a real treat this week, as two versions of their 2011 Frankenstein production were available on YouTube. The play, written by Nick Dear, is creature-centric and was adapted directly from Mary Shelley's 1818 novel. Director Danny Boyle brought the play to life in two versions, as Johnny Lee Miller and Benedict Cumberbatch alternated their roles of Victor and Creature.

Image retrieved from NT Live's Facebook page: https://www.facebook.com/ntlive/

Both Miller and Cumberbatch brought something different to each role and revealed aspects about each character that the other had not. Cumberbatch's depiction of the Creature was animalistic, exaggerated and had an unnerving confidence that grew as the production continued. By contrast, Miller's Creature was more human, playing more on human toddler traits than animal. As a result, Miller's development from innocent and frustrated into vengeful and powerful was much more sneaky, as the empathy that Elizabeth feels when she meets him is shared by the audience.

Equally, each actor brought a different interpretation to Victor. Miller's Dr Frankenstein was angry, frustrated, irritated by his own actions and generally filled with unease. He was clearly tormented by his actions and his remorse seemed genuine. However, when watching Cumberbatch's Victor, moments of theatricality and even humour were brought out in a way that I had not noticed during Miller's performance as Victor. Cumberbatch presented a man who was proud, eccentric, arrogant, and absolutely invested in science. The prospect of doing God's work was, to him, a fantastic experiment that would fuel his ego at whatever cost. Yet, surprisingly, he was not unlikable as a character.

Watching these two performances together reveals how complex these two characters are, each filled with emotion, passion, and conflicting identities that clash when they collide. Both Victor and Creature are just wanting to find their respective place in the world, but both are overcome by internal and external forces that are beyond their control.

Naomi Harris as Elizabeth and Benedict Cumberbatch as the Creature
(Image from NT Live's Facebook page: https://www.facebook.com/ntlive/)

The supporting cast were excellent, and Naomi Harris' Elizabeth was the perfect balance of purity and sass, livening up a character who can easily become two-dimensional. She was trapped in a world where women must sit and obey their husbands and was willing to do so up to a point, as long as Victor would marry her and give her the relationship that she desired. But the man travelled so much that her restrictions as a woman were exposed, as she can do nothing but wait for his return for as long as he wishes her to. Science, he tells her, is no place for a woman, for she cannot access the level of education that is required. As her hopes are finally coming true, her wedding night with Victor will surely break audiences hearts everywhere. It is painful enough in the original text, but this production's added violence made her death all the more unnecessary and sorrowful.


It is impossible to write about this production without acknowledging the wonderful set. Light bulbs hung from the ceiling and flashed, replicating the 'spark' that gives the Creature life and providing atmospheric lighting throughout the show. The stage itself had an inner section which could spin around, flip, sink or rise according to what scene needed to be portrayed, allowing transitions to be smooth and seamless. For me, the creative team showcased their amazing talents when the creature watches the sunrise, with grass growing on the stage, rain falling from the sky, and birds flying next to the rising sun. In other scenes, we were transported to the Frankenstein household, the top of a mountain, and up to the northern isles of Scotland.

For cast, crew, and everyone involved, this production of Frankenstein was a triumph and is sure to go down in history. It deviates from the original story just enough to bring something new, but remains close enough to the original characters that it feels like an authentic adaptation of the original book. The humanity in the Creature, the moral questioning of Victor's actions, and the societal issues of the Victorian period were all brought to the forefront creatively and in a way that was visually stunning. Shelley would most definitely approve.

RSC Live: Measure For Measure (31/07/19)

The Royal Shakespeare Company's Artistic Director Gregory Doran did himself, the company, and Shakespeare proud with this mesmerising production of a play that (in my opinion) is not put on enough. He transported us to 20th century Vienna, where Isabella must fight for her dignity and her brother's life in a game of power vs. sexual desire.

Sandy Grierson as Angelo and Lucy Phelps as Isabella in the poster for Measure For Measure.  Photo taken from the RSC website: https://www.rsc.org.uk/measure-for-measure

There was not a weak member among the cast - all spoke their lines beautifully and every character was explicitly clear, but I will give you my top three:

- Sandy Grierson was fantastic in his role as Angelo. I imagine it must be extremely challenging to enter into such a controversial role, knowing that the audience could easily be triggered by your character's speech and behaviour.

- Lucy Phelps had her moment to shine as Isabella, and, for the first time, I found myself really liking the character. She is a complex character to play, and the religious side to her can easily be over-done, but I felt that Phelps found the perfect balance and presented an Isabella that we would not only want to support, but also befriend. Her reaction to the Duke's final marriage proposal was a simple expression, and one of extreme pain, but it was enough that I wanted to run and hug her and protect her from the nasty Duke. Phelps is definitely an actress to watch.

- Last, but certainly not least, is Joseph Arkley, who took on the role of Lucio. He stole the show whenever he was on stage, bringing an immense energy to the role. His Lucio was extremely gentlemanly and dignified, and totally oblivious to his impact on others around him. What really stood out for me, however, was the sheer difference to his Shrew part, in which he played the abused Kate as male role (see my previous blog here: https://lilliteraturereviews.blogspot.com/2019/06/rsc-live-taming-of-shrew-050619.html). Like Phelps, Arkley is definitely an actor to watch out for in the future.

Illyria: The Tempest (24/07/19)

I love supporting local events, so I was thrilled to see outdoor theatre company Illyria Theatre putting on a production in the gardens at Drum Castle.

The stage was small, but set behind the beautiful Drum Castle (photo my own)

As you can see from the photo, the staging unit was small - although they used all of it! There are steps toward the back of the fixture which lead up to a balcony, and this was used for much of the performance. At the beginning, a "mast" was brought up here and a sheet held up, transforming the entire fixture into a ship. Actors who were not on stage came around the sides and threw buckets of water at the stage, while the actors on stage swayed together in the motion of a ship, creating the effect of a shipwreck. The whole scene was imaginative and exciting and achieved a kind of meta-theatricality by drawing attention to the clever staging.

All of the actors doubled up and played multiple roles (the entire play was done with only 5 actors), and the characters were so well developed that it was easy to forget that they were doubling up like this.

It was wonderful to see a female "Prospera". For me, this highlighted how universal the character is, and the most important aspects of her were her bond with Miranda and her power over the island.

RSC Live: The Taming of the Shrew (05/06/19)

As director Justin Audibert said in his pre-show interview, Shakespeare's Shrew is a difficult one to stage in today's #MeToo world. His decision to flip the gender roles and switch up the power structure was a stroke of genius, bringing new meaning to what some now view as a very dated script.

One of Audibert's aims was to produce a thought-provoking production. Given current topics surrounding domestic abuse and toxic masculinity, this play would have allowed for conversation anyway, but somehow having the genders flipped really highlighted how far we have come as a society.

Joseph Arkley as a male Katherine and Claire Price as a female Petruchia. Image taken from the RSC website: https://www.rsc.org.uk/the-taming-of-the-shrew/production-photos

The production could even be described as a celebration of womanhood, as women of all different shapes, colours and abilities were given the chance to shine under the spotlight. Deaf actress Charlotte Arrowsmith brought humour and realness to the role of Curtis, relaying the lines in sign language and physically emphasising her character's personality. Other actors who were present on stage signed with her as they spoke their lines, making it feel normal. Meanwhile, Amy Trigg brought new life to Biondella in a wheelchair, although at times she was more mobile than anyone else on the stage, as the style of the production allowed for lots of standing and posing. Rather than inhibiting these parts, Arrowsmith and Trigg were able to approach their roles in a new, exciting and multi-demensional way.

Amy Trigg as Biondella. Image taken from the RSC website: https://www.rsc.org.uk/the-taming-of-the-shrew/production-photos

However, this gender flip made victims of men in a patriarchal world, and women proved to be just as vicious as a misogynistic man can be. The male Katherine was "tamed" as per the script, but the situation did not sit any more comfortably than it would if the character was in her traditional form. The director had said that he wanted this production to start a conversation, and the discomfort that the audience felt at Katherine's humiliation was definitely a talking point after the show. My mum (who accompanied me to the show) commented that this situation would never happen "in real life" because men are physically stronger than women, but after some discussion we agreed that it wasn't actually about physical strength, but power. This play will always demonstrate a power imbalance, and gender is simply the easiest way to display this on a stage. It could be done in other, less controversial ways, such as via a colour-coordinated costume, but there will always have to be a victim of this cruel world.