Romeo and Juliet

Looking at my program- an image of two lovers on the beach against a backdrop of the Australian flag - I was excited to see this classic tale portrayed in the context of Sydney’s Cronulla riots. The result was a mixture, with some aspects resonating perfectly with this adaptation, while other parts operated outside the whole Cronulla thing. Those aspects of the production that reflected the racial tension evidenced in the riot were done so well that I was disappointed not to see more.

The opening scene cemented the play firmly within the Cronulla conflict. Sofia McCarthy  in her passive-aggressive Australian flag bikini, and her sexist treatment at the hands of “the Lebs” was a simple and effective introduction to the dueling clans. A background screen playing media footage of the riots forged a direct connection between Shakespeare’s language and current events.

Other attempts to contextualise the play were done well. The set, a graffiti-ridden brick wall, was reminiscent of the blonde brick surf lifesaving clubs that dot south Sydney’s coastline. The use of the hijab as an ordinary female adornment was an effective juxtaposition to the bikini-clad Sofia in the first scene, and was dealt with well between private and public settings throughout the play.

A huge shout out to Alex Bryant-Smith as Tybalt who was the most consistent link to the Cronulla setting, with his completely believable role as a young middle eastern man, and a particularly impressive Lebanese accent. His bravado and anger was demonstrative of great emotional acting. Adam Hatzimanolis as Capulet produced a performance that elicited empathy for the role of a parent steering their child through the cultural divides of a multicultural society. I had no doubt about the elation, then the pain that he felt.

The cast was well chosen and soon felt familiar as they slipped between contemporary roles and Shakespearean characters. Lisa Peers as the nurse was particularly endearing, moving seamlessly through comedy and tragedy. Byron Hajudczok as Mercutio had a vitality and energy on stage that made it difficult to look away.

The show is nothing without it’s two title roles, and it is an understatement to say that Rainee Lyleson (Juliet) and Dan Webber (Romeo) were flawless. In fact, in their chemistry together, and in their individual roles, they exhibited some of the best acting i’ve seen in a long while. The balcony scene is something I know off by heart, having seen it performed a good number of times now, but this didn’t stop me from smiling throughout their entire exchange. Lyleson’s playful innocence, demonstrated through some very physical, and incredible eye-catching movements, coupled with Webber’s pent-up delight and yearning had me feeling as though I was watching something brand new. Their solo performances were engaging; together they were irresistible.

The only drawback in the production was the lack of punch that could have been given to the issue of racial difference and intolerance. Romeo’s declaration of love for the Islamic Juliet was met with little resistance by a mate wearing a “No Lebs” t-shirt. Juliet’s passage to “forbidden” love saw little of the struggle that could be encountered between a young Islamic girl and her extended family. Without prior knowledge of the Cronulla riot it might have been hard for an audience to make the connection between the dualling families and a contemporary scenario. That aside, however, this production is worth seeing for its great cast and their fresh take on an old favourite, and at a great venue.

Sally Alrich-Smythe

Photographer: Eva Kiss