Romeo and juliet the globe review

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romeo and juliet the globe review

Romeo and Juliet. by Globe Education by Globe Education

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Published 25.01.2019

Shakespeare; The Globe Theatre London tour

Director Barry Edelstein's daringly inventive, eccentrically contemporized take on the tragedy draws a sharp line between ecstasy and anguish.
Globe Education

Romeo and Juliet review – the Globe's perverse show vandalises Shakespeare

And, whichever side of the Rice debate you stand, is there something to appreciate? What style of Shakespeare does Kramer serve up, then? Is it out with the amplification and in with the verse-speaking? Is it safe for the purists to descend into the pit once again? Nope, definitely not. And our journalism is invested in supporting theatre and the performing arts. The Stage is a family business, operated by the same family since we were founded in

Loved visiting The Globe for the first time and what better to see than Romeo and Juliet! Great performance in a fab venue which is just a few minutes walk from Blackfriars station. I loved the wooden steps and seats in this open venue. Would definitely visit for another Shakespeare play soon - maybe in the summer. It was a fine day so not too cold for this matinee performance.

Daniel Kramer , director of this dismal production and part of the artistic team at English National Opera , says in the programme that music is central to his thinking. My chief complaint concerns the visceral crudity of the production. In case it had escaped our notice that this is a death-haunted play, the evening begins with black-robed figures sitting on catafalques clutching miniature coffins. This heavy-handedness applies to the characterisation. It could be interesting to see Mercutio played by a woman Golda Rosheuvel but why have her turn the brilliant scherzo of the Queen Mab speech into a rasping dirge and why, at one point, get her to strip? The same perversity extends to the lovers.

Shakespeare's Globe, London This risible production butchers the language, turns Juliet into a squawking, pampered princess and makes.
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‘Romeo and Juliet’

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After his smash-hit Othello and record-breaking Hamlet , Barry Edelstein returns to the Shakespeare Festival to take on the greatest love story of all time. But when Romeo glimpses Juliet across a crowded dance floor, something different happens. Can star-crossed love survive in a world of rivalry and rage? William Shakespeare Playwright , —, was an English poet, playwright, and actor, widely regarded as the greatest writer in the English language and the world's preeminent dramatist. During his career he wrote 38 plays, sonnets, two long narrative poems, and other verses. His plays have been translated into every major living language and are performed more often than those of any other playwright. His book Thinking Shakespeare , which was rereleased in a second edition in June, is the standard text on American Shakespearean acting.

The Capulets? And is it really so strange? Edelstein draws a smart delineation between an upbeat, even fizzy first half, when hope still reigns and pulses race with the thrill of first love, and its somber flip side an apt image for this very pop-music-minded production , when rage and vengeance rule and, ultimately, young hearts are stilled. It would ruin the fun — and honestly, how often has that word been employed to describe this play? Still, blowing up the Bard this way requires a director as deeply steeped in Shakespeare as Edelstein is, and his cast seems committed to this out-there vision that nevertheless preserves the bones of the story. Meanwhile, the Nurse, as played by Candy Buckley, seems to drop in from another world entirely — her agreeably bonkers take on the character is like a cross between wisecracking cocktail waitress and saucy society matron, and is so funny she made Moten break into giggles on opening night. Jesse J.

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  1. Romeo and Juliet review – the Globe's perverse show vandalises Shakespeare | Stage | The Guardian

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