Young Critic Review: ROMEO AND JULIET: The Lord Chamberlain’s Men
The actors’ impeccable ability to burst into musical harmony during a dramatic scene stunned the audience into blissful admiration. Pitching the notes without any musical aid is highly commendable especially when each part followed their own musical line through harmonies, however this became vital for their performance as it formulated emotional undertones contained within the scene. Furthermore, through reflecting the Renaissance period with their singing it enabled the audience to be transported to the Shakespearean era, which provided the necessary atmosphere to appreciate the performance. Additionally, this was further explored with the use of percussion by mainly Enzo Benvenuti with an old-fashioned tambourine, who skilfully controlled the tension of the scene. Whilst physical performance is arguably at the heart of this play, it was the music which enabled a three-dimensional aspect to the performance, accentuating subtle to painful emotions. In light of this, the unified singing at the opening of the performance and similarly at the end provided finality to the abrupt closing of the play.
The characterisation in the performance of women by men, provided a subtle irony to the audience which amplified the commedia dell’arte origins of Shakespeare’s work. Accordingly, the highlight of this aspect has to have been Craig King in his performance of Juliet’s nurse, who carried the audience together through laughter. Moreover, in keeping with the Shakespearean theme and tragic style of this drama, the comedic relief becomes requisite to emphasise the heart-wrenching deaths and separation of two destined star-crossed lovers.
In addition, the scenery of this masterful performance encapsulated the audience in the world of Romeo and Juliet with the astounding backdrop of Lichfield Cathedral. The dominating spires supplied the Lord Chamberlain’s Men with the ability for the audience to close off the rest of the world and focus on Verona. The actors impressively weaved their narrative arc through each corner of their stage – which although a small, simple performance space, transported the audience to a Shakespearean World and enabled them to be immersed for the full hour-and-a-half performance.
By Lucy H.
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