12/8/2023 0 Comments Romeos aftermath review![]() ![]() ![]() Warner drops lines such as “Shall I hear more, or shall I speak at this?” with a disarming casualness that wrung laughs from the audience, but also underlines that the death and heartbreak that we know is coming may be born from immaturity rather than immortal love. More than a little ink has been spilled on the notion that Romeo is the OG fuckboi (most prominently in the pop musical & Juliet, currently playing in Melbourne to great fanfare), his dalliance with Juliet more of a passing obsession than true love, and Warner leans into that ambiguity. Jacob Warner’s Romeo here is capricious, charming, and more than a little blind to the consequences of his actions. The cast is dressed in stylish but functional black, the addition of brighter accessories marking the crucial Capulet ball scene when our star-cross’d lovers first meet.hearing this old song sung in a new register is nothing less than exhilarating Set and costume designer Anna Tregloan dresses Bell’s new HQ, The Neilson Nutshell, with a couple of raised platforms and a scattering of carpets and wooden stools. This production, however, is a more streamlined, minimalist affair. ![]() Of course, this is not director Peter Evan’s first at-bat with R&J – he mounted a lavish production in 2016 when he first took up the reins as artistic director of Bell Shakespeare. It’s an interesting approach that could, in other hands, undermine the play’s central thematic concerns – but here, the contrast works wonders. However, Bell Shakespeare’s latest production highlights the humour in the famous tragedy, before bringing the hammer down in the back half. You’d never, surely, describe Romeo and Juliet as one of William Shakespeare’s funnier plays. ![]()
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