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Barry Kirk reviews Romeo and Juliet at the Queen�s Theatre, Hornchurch
Shakespeare at the Queen�s Theatre is a bit like a London bus � you wait ages then two come along together � but on both occasions, it has been well worth the wait.
Last year we saw Midsummer Night�s Dream get the Bob Carlton treatment, and this week the actor-rich version of Romeo and Juliet managed to touch every emotion.
Last time it was street musician Bebeto as the fairies, this time it was the unbelievable facial gymnastics of associate director Matt Devitt, as the Nurse.
He played it like Black Adder�s �nursey�, and along with Richard Emerson was the highlight of the first half.
Bob transported the classic love story of the Capulets and Montague�s into Mussolini�s 1930s Italy, but like the previous Shakespeare production, was careful to keep the Shakespearean dialogue, maintaining the authority of the Bard and adding an identifiable contemporary backdrop.
Putting 13 players on the stage deserves full credit, and it was this strength in depth of the resident Cut to the Chase company that made the evening sparkle with that special Queen�s buzz.
The very welcome return to Richard Dax and Richard Emerson, along with stalwarts, Jonathan Markwood and Nick Lashbrook, took Romeo and Juliet into the realms of being more then just another Shakespearean play.
Perhaps because it was Press Night, but I though the first half was a tad slow. It was only a passing thought as messers� Devitt and Emerson ran riot. However, the second act swept all that away.
Everyone knows the ending but the auditorium held its breath with what can only be described as a thunderous silence of appreciation at the quality acting.
Richard Dax with his �Hot Metal� impersonation of Robert Hardy at the top Capulet and father of Juliet gave his usual high quality performance. Even by his standards, this was brilliant stuff as he turned the �Jack the Lad� and everyone�s friend, into a terrifying burst of hateful father that frightened even me.
The blandishments of �nursey� could not distil the performance that has us shifting uncomfortably in our seats.
Pity then the victim of the wrath, poor Juliet, brought to life by Queen�s newcomer, Maria Lawson.
At first I thought this beautiful and talented actress, suffered from over enthusiastic nervousness as she seemed to speed through the first act dialogue.
But then I realised she was playing a 14-year-old girl, about to be thrust into her first love affair.
Any doubts I may have had were blown away with such a powerful second act performance that had us all on the edge of our seats. She took hold of the stage and made us all work for her. A truly stunning performance that was a pleasure to witness.
Another newcomer, Ifan Meredith, took on the role of Romeo, perhaps the unluckiest lover in the history of the theatre. Ifan�s performance had to equal Maria�s to make the play work, and he did not disappoint. His moment came when told of his banishment after the fatal fight between Tybalt and Mercutio which was so moving; the hankies were out a few seats away from me. These two are a worthy addition to Cut to the Chase, and we will hopefully see a lot more of them.
Devitt, Dax and Emerson gave their usual 110 per cent and were the rocks on which legends are built, as so often in the past their performances have shone with generosity and professionalism, and I for one, never tire of watching them. Talking of generous, James Earl Adair�s �Friar� was such a performance. The lead in so many Queen�s productions, Adair�s good friar was both commanding and sympathetic.
On a night when there were so many good performances, I would like to play special tribute to Jonathan Markwood�s Mercutio. Jonathan was superb in Kind Hearts and Coronets last autumn � in Romeo and Juliet he is outstanding. The inch perfect portrayal of the swaggering friend of Romeo is a gem and along with Nick Lashbrook�s athletic and find performance as Tybalt, bought out the spirit of comradeship and surreal way of the life of the aristocracy. This was enhanced by sword fighting that leapt from the realms of chorography into reality which looked real and as if they meant it.
The other players, Emily Gardner, fresh from her success in Educating Rita. A quietened down Phillip Reed and Carol Sloman, were joined by James Waverley and Ben Hicks, who each gave generous supporting roles.
Romeo and Juliet sparkled with humour and extreme of sadness. Even if Shakespeare is not your thing, this is a return to the large production ethic that leaves you breathless at the final curtain.
This production has everything and is delivered with all the strength and depth we have come to expect from such a fine group of professionals.
Romeo and Juliet runs until April 3, and believe me, is not one to miss.
Tickets are from �8 to �15 and available from the box office on 01708 443333.
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