A classical tragedy of two star-crossed lovers, infused with modernity – while retaining that good ole dose of jest – marks the 400th anniversary since the death of William Shakespeare.
Director Daniel Slater interprets Singapore Repertory Theatre’s (SRT) Romeo & Juliet as a play set in ‘an urban Asian world literally split in two’, with ‘real, vital, passionate people … full of both fear and excitement’.
Set designer Francis O’Connor helps in achieving this vision. Without a curtain, the stage provides the audience with an initial impression of the play prior to the play’s commencement, allowing the audience an intimacy with the set and the performers.
This initial interaction with the set allows the audience to ponder the paradoxes of this particular adaptation – is it set to be modern, or is it stylishly old? Is it still a tragedy, but will the irony not border on comedy? Is it two young lovers’ innocence, or wealthy children’s unhealthy obsession?
A path leads away from the centrestage towards stage-right, towards the audience, and leading further backstage. Towering glass backdrop and two giant, tilted crucifixes separate the wide-angled view of downtown Singapore from the audience’s close-quartered gaze on the performers.
An evening of transformation is afoot.
Enter Gregory (William Landsman) and Sampson (Timothy Wan) – clad in Capulet’s hallmark of bright red costumes – insulting the Montagues and swaggering about their bravado.
SAMSON: A dog of the house of Montague moves me.
GREGORY: To move is to stir, and to be valiant is to stand, therefore if thou art moved, thou runn’st away.
SAMSON: A dog of that house shall move me to stand. I will take the wall of any man or maid of Montague’s.
Colours portray a dynamic and complex relationship between the two political factions. Slater uses the Montague’s deep blue costumes to contrast the Capulets’ fiery disposition. While his intention in using opposing colours seems to be to portray the contradictory relationship between the Capulets and Montagues – although it can also be interpreted as a relationship that complements and eventually pacifies each other through tragedy.
The display of youthful passion between young Romeo (Thomas Pang) and Juliet (Cheryl Tan) is a constant across every Shakespeare’s Romeo & Juliet – a play that has to make the audience realise the beauty of young, unrestrained love. Yet it is in this modern and slightly comedic adaptation that the audience can understand better and have fun with, as the stage setting and actors are able to frame and portray both elements.
Mercutio (Shane Mardjuki) here is acted with an undeniable aggressiveness; and the intensity of the musical score (Ruth Ling, Composer) whenever Mercutio enters the stage further asserts his presence on stage, as is expected of Romeo’s foil (and best friend).
The play closes with another monologue by Friar Laurence — complete with bluish lighting to denote the solemn atmosphere, the sombre instrumental background resembling a requiem – mourning the loss of the two passionate youths of Verona, and heralding the reconciliation of the two factions.
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Shakespeare in the Park: Romeo & Juliet
Presented by Singapore Repertory Theatre
Ends 22 May 2016
Fort Canning Park
Have you watched Romeo & Juliet? Or do you perhaps have other recommendations for plays in Singapore? Let us know in the comments or on our Facebook page!