DERBY SHAKESPEARE THEATRE COMPANY

FRIDAY 26TH JULY 2024

MARKEATON PARK CRAFT VILLAGE

There is something really special about a good production of Shakespeare held outside, where we can get just a little sense of what it must have been like visiting an outdoor playhouse in Elizabethan England. Romeo and Juliet was likely first performed at The Theatre in Shoreditch in around 1597, and those Early Modern theatre audiences would, of course, have been well versed in watching plays that were at the mercy of the elements. In 2024, however, it’s an additional draw that allows us to risk weather, noise disturbances and view of the stage.

Derby Shakespeare Theatre Company have selected a great venue for this offering – Markeaton Craft Village not only provides hard standing for our camping chairs but food, hot drinks and toilets. The stage set up is impressive – a two-storey set with, as director Matt Swan states “The world’s most fun climbing frame behind it.” offers us a graffiti-strewn 21st century estate, Capulet Towers set in Verona Heights in the London Borough of R4J. 

The Police Commissioner (Susie Brayshaw-Thorne) begins proceedings taking on the role of the Prologue as a press release, and merging this with the character of the Prince, cementing this version as concerning itself with law and order. 

A strong and clear division of costume colour and separate stage entrances, tell the audience who are Montague and who are Capulet, and establishing this as an early convention helps with both the transition to a modern day setting, and understanding the rival factions of the characters.

Emily Cant is a fun-loving and dynamic Juliet, wrapped up in her own world and sashaying through life until she is blindsided by the events that unfold. Jack Anthony’s Romeo is extraordinary – jumping from an impetuous infatuated youth, to a troubled groom with blood on his hands, Anthony provides us with an impeccable, believable version of this character who we all root for throughout. Strong supporting performances by Alex Wrampling as Juliet’s Nurse, played as a confidant and almost aunt-like friend in a natural and fresh way and Harry Hodder’s aggressive and physical Tybalt both really help with meaning and catalyst moments. The Montague “lads” are particularly strong, with Jake Soar’s excellent Benvolio a good confidante for Romeo, and Zoe Grunnell’s Mercutio a real tour de force, delivering a spellbinding Queen Mab speech, and a violent and emotional death. The Capulet side is not let down, with a unique take on Peter (Jess Brough) having some lovely comic moments.. 

There are some great choices in this production – notably the traditional masquerade turning into a fancy dress party of music legends enabling the Montague boys to effectively disguise themselves, which also allows for the clever decision to have Juliet a David Bowie-obsessed teen really have her head turned at the ball, by the handsome stranger, Romeo, dressed as Bowie, fully stamping their love at first sight moment.

Also effective are the points where music and dance are integrated into the scene transitions and as backdrops to staged moments – something the play could withstand more of, in fact, as they are welcome motifs.

The lighting design is also effective, illuminating where required, and supporting mood and content when necessary. Lighting an outdoor space on a summer evening carries with it a set of challenges, but this design is impactful and balanced.

There are a couple of interesting choices that don’t quite sit right for me – removing the murder of Paris (Benjamin Lawley) may have been a decision based on the length of the play, or a creative choice, but the reason for the omission is unclear. So too the choice to raise Juliet’s age from 13 to “nearly 19.” Swan advises that the choice is a considered one, based on the updating of the period to contemporary, and that a 2024 Council-estate Juliet at 13 would not be married off in today’s society. However, for me Romeo and Juliet is a play that is ultimately about children being let down by the adult caregivers in their lives – Capulet’s (Ian Currie) rage at Juliet’s disobedience, Lady Capulet’s (Laura Horvath) distinctly distanced parenting, Friar Lawrence’s (Mo Pickering-Symes) incompetence, Lord Montague’s (Tom Morley) absence and Lady Montague (Laura Fogarvue Finn) only really appearing to grieve at her son’s untimely death, all demonstrate to us how isolated the young teens are, and how much they need (and do not have) adult guidance to steer them towards good choices, all of which lead to their avoidable deaths. This only really works if Juliet is still a child, and making her 18 gives her autonomy and agency that is difficult to reconcile with her decisions within the text. We accept Romeo is banished instead of imprisoned and we accept the concept of Capulet picking his peer to marry his daughter, and we would – I think – accept Juliet’s age as 13.

However this is an artistic choice which we also accept, and it does not detract from what is a very good version of this play. 

With strong performers able to adapt to the outdoor setting well (although a couple of Capulets would have benefitted from a touch more volume), a design and production team able to transform a space with real efficacy, and a director with a strong vision and the ability to steer the cast to achieve his desired outcomes, it is clear that Derby Shakespeare Company are a force to be reckoned with on this circuit. Romeo and Juliet is a well known play and coming up with fresh ideas and new insight can be a challenge, but one that this company clearly relished. 

This was my first time at a DSC production, but it will not be my last and I am looking forward to their next production of Macbeth in October in Repton. 

The “2 hours (and forty minutes) traffic of the stage” gallops apace, in this rendition, with not a minute of it overdone or wasted. If you missed it, make sure you grab a ticket for the next show because this is an exciting company with fresh ideas, making Shakespeare really accessible.