March 19, 2003 Culture the other press
http://otherpress.douglas.be.ca

Romeo and Juliet

Carla Elm
OP Contributor

Like a much-loved book or album,
Shakespeare’s Romeo and Juliet reworks its
magic on each repeated visit. Every time |
view a film rendition or theatre production
of his beloved work, or re-read the text itself,
I carry with me a spark of hope that these
two characters will have luck on their side.
That they will begin their new life together,
and fulfill Friar Laurence’s desire to join two
feuding houses with love. But the tragedy
always takes over and the familiar feelings of
sadness and remorse return. The genius of
Shakespeare is that he allows us to journey
through these emotions time and time
again.

Taking us along on this cathartic journey
of unrequited love is the Vancouver
Playhouse Theatre Company's production,
which runs until March 22nd. In the title
roles are Alessandro Juliani as an impas-
sioned Romeo and Meg Roe as a precocious
Juliet. Shakespeare’s words and nuances of
phrase are no small feat to master, and
Juliani exhibits a greater adeptness at it than
Roe. Although clearly a commanding and
expressive actress, Roe’s ability to live rather
than read the rhythmic lines falls short at
times—nothing that can't be practised and
perfected. Corrine Koslo, as Juliet’s Nurse
,infuses her character with such depth of
expression—from comedic playfulness to
sharp despair—that I began to anticipate
her return just to witness such skill. Her
heartbreak at finding the drugged (and
believed dead) Juliet was palpable. Dean
Paul Gibson as the animated Mercutio
inhabits his character with such conviction I
felt equally intimidated and spellbound
from where I sat.

Also deserving of praise was the elegant set
design by Pam Johnson. The innovative use
of parachute cloth falling from above to
drape the stage and act alternatively as mar-
ital bed and shroud was beautiful. And the
use of projected video of birds in flight on
this fabric, as Juliet is laid to rest, was exqui-
site. | was genuinely amazed at the caliber of
an opening night performance—no detail
was overlooked. The only flaws of note were
difficulties with the daunting text by various
players and the unfortunate summary
speech by Christopher Newton as Friar
Laurence. We know the story well enough
that such a recap is unnecessary—but per-
haps truncating the text was not a consider-
ation.

At the end of the performance, as we filed
out of the theatre, I marveled at how
Shakespeare's wise and delightful words con-
tinue to exist, how they are given life by the
actors and manage to fly off the page to fill
the theatre with persuasion and vividness.
This is the gift of theatre. And this is a pro-

duction not to be missed.

 

 

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