Review: ROMEO AND JULIET, Union Theatre

Andy Bewley directs Joe Mackenzie's mostly disappointing but highly energetic adaptation of Shakespeare's tragic tale. Set in a universe where football is almost considered a religion, Romeo and Juliet are young men whose forbidden love threatens the foundation of their two families.

Bewley has his audience seated alongside the longer sides of stage, just like bleachers. Although evocative, it's a tad unfortunate: the steps the seats are placed upon do not have enough height, so when the action takes place relatively low to the ground, the crowd is forced to peek among the people sitting in the rows ahead of them.

Physicality and the body are of crucial importance to the production, and movement director Amy Warren's work with the company is outstanding. Her incorporation of playing with a ball in the choreography draws out the characters' passion for the game, and adds motion and speed to the otherwise tedious nearly three hours. However, even though football is assimilated into the visual structure, it still feels like an external element to the narration.

Abram Rooney and Sam Perry play the title characters respectively. Refreshingly, they present their roles as the teenagers they are meant to be, unlike for example Kenneth Branagh's recent production at the Garrick.

Their tantrums, jokes and diving head first into their relationship is distinctive of their youth. Their representation of budding love is invigorating, but their families' influence takes a while to get into gear. The pressure really only becomes apparent in the second half - naturally, announced by whistle.

Sarah Barron (Lady Capulet) and Steven Rodgers' (Capulet) presence is in danger of becoming redundant. Barron's tedious body language is matched by Rodgers' loud, rather drawled speech - maybe done on purpose to stress his possible alcoholism, but unnecessary as Bewley has him already walking around with a glass for the whole time. It doesn't help the rest of the cast's occasional rushing through their lines, mumbling or too-low-to-hear whispering (Juliet's last words were a mix of all these and utterly unintelligible).

Jack J Fairley is a scene-stealer. His Mercutio is bold and hyperactive and he takes charge of the stage. His delivery of the 'Queen Mab' monologue is vivacious and reflects the spirited warmth of Fairley's take.

The director's attempt to bring light to the hardships that come with being a gay footballer and the fear of coming out in the world surrounding this particular sport is commendable but underdeveloped. With gender-swapping (Paris is played by Allegra Marland, the Prince by Kate Hardisty, and Friar Laurence by Henru Merriam), a younger take on the Nurse, and having the cast playing live music during the scene changes, the production shows creative potential, even though the final execution leaves something to be desired.

Romeo and Juliet runs at Union Theatre until 20 May.

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