Bell Shakespeare’s ‘Romeo and Juliet’ focuses more on depth of character than exuberance of setting
Throughout the ages, Shakespeare’s works have been altered in language and presentation so much so, that there are few permutations left in which to view the Bard’s works. Whether poorly bastardised or elevated to the Nth degree, we’ve often noticed some of the dialogue gets tampered with, or costumes have been designed to look over the top; sometimes a play’s ending has boldly been manipulated in that rare game of ‘what if…’
So it’s nice to see a Shakespearean production stripped back to the bare essentials: storyline, character, clear backstory, and ultimate resolution (or in this case – tragic outcome).
Bell Shakespeare do a great job of plucking the fluffy bits from a classic play and leaving it raw for folks of all walks of life to relate well to. It’s like presenting viewers with a blank (ie: black) canvas to imagine themselves within. The Company’s latest incarnation of Romeo & Juliet keeps that backdrop blank/black and opts instead to focus on character and dialogue over aesthetics and over-the-top antics.
But there is a certain psychology to colour and pattern that helps the viewer put the pieces of a comi-tragic puzzle together more quickly, and I think that colour and pattern was kind of needed more here.
The story itself of Romeo & Juliet is not difficult to follow – about two teenagers who fall in love at first sight but whose families are feuding, hence make their romantic relationship an impossible one. The teens opt to secretly get married, a murder happens along the way, a faked death, too, and then things get genuinely dark and tragic… So if the storyline is easy enough to follow, I’m inclined to say why not go all out on the costumes, backdrops, etc?
To focus on character, that’s why! And Bell Shakespeare do a masterful job at bringing each character to the fore in this well-known play. Romeo’s best mate, Mercutio, is played by a woman but her boisterousness and sarcasm toward her buddy’s lovelorn situation only highlights the dissonance in viewers’ minds of what sudden romance can bring.
Ditto Juliet’s confidante, Nurse Angelica, who adds a kind of ‘Downton Abbey’ touch to the proceedings. She seems at once for and against the relationship between Juliet and Romeo, and her often bawdy remarks and cheeky jokes provide brilliant comic relief to balance out the sadder aspects of the story.
Our key characters are played by Ryan Hodson and Madeline Li, the former bringing a kind of Heath Ledger aspect to his performance (talk about getting meta) and proving he’s set to go far, and the latter who apparently is new to the State Theatre stage, executing a wonderful, memorable performance.
With dialogue clearly articulated and exchanged between all characters, Bell Shakespeare’s Romeo & Juliet reminds audiences that this isn’t just a story of romance, but also one about community, communication, and the consequences of hearsay; also of how violence and inherited loathing can ruin lives beyond those of the protagonists.
If minimalist-design drama is what you’re after, do see this. If you’re more for costumes akin to Bridgerton and stage effects that overshadow the dialogue, go see a musical.
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Bell Shakespeare’s Romeo & Juliet is currently on at the Heath Ledger Theatre in Perth until September 20th, then returns to the Sydney Opera House from 19 November to 7 December 2025.
For tickets and more information, visit artsculturetrust.wa.gov.
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