ROMEO AND JULIET is this years’ national touring production for the Bell Shakespeare Theatre company. The tour began at the Canberra Theatre Centre on the 29th August and has since whistle stopped its way around the country to some 25 venues, and has now reached its final destination, the Playhouse at the Sydney Opera House.
As it toured around Australia one of its priorities was to come up with a flexible set design that would be easy to move around. Set (and costume designer) Anna Tregloan’s design is very interesting. The set essentially comprises two raised platforms above a glossy black floor surface., and a back wall mirror. During the play, these platforms act as if they are two islands, with characters stranded on either island.
There are simple, transportable furniture and props- wooden stools etc that are easily placed on the stage or removed by actors. There is also the use of Persian carpet rugs that are rolled on to the stage to indicate scene changes. A bit too semiotic for my taste, but maybe that is just me.
The main concept in Tregloan’s costume design is that period accoutrements – ruffs, masks, skirts and capes – are layered on top of the casts’ contemporary clothing. Through the show, actors put on or take off their accoutrements as they between scenes.
Benjamin Cisterne’s lighting design was particularly effective. A ceiling of festooned light bulbs with some fifty colour changes were suspended above the stage which were used to great effect to impact the tone and feel of scenes. There was also the reference to starry skies.
The soundscape by Max Lyandvert, a frequent collaborator with Bell Shakespeare, underscored and commented on the action well.
Simone Sault’s choreography worked well, particularly in the fight scenes (with the help of assistant fight director Thomas Royce-Hampton) and in the ballroom/masquerade scenes.
No doubt, voice director Jack Sharkey-Gill had a lot to do with how clearly the cast spoke the language of the 1600’s, making it more accessible for audiences.
With such a compelling stage world set up for them to work with, the cast of ten gave inspired performances.
Madeline Li was a memorable, impassioned Juliet. Ryan Hodson a tempestuous Romeo. Merridy Eastman , in the play’s only light/comic role as Juliet’s caring, protective, ditzy Nurse. Jack Halabi a proud Paris, caught in the crossfire. Khisraw Jones-Shukoor the well intentioned Friar. Tom Matthews the fierce, tempestuous Tybalt. James Thomasson the good natured Benvolio. Michael Wahr as the stern, proud Capulet who will not be swayed. Adinia Wirasti as his subservient wife Lady Capulet. Brittany Santariga was just fantastic in her two roles as the charismatic, playful, bold Mercutio, and the righteous, upstanding Prince. Santariga also briefly showcases a delicate, lilting, ‘background’ singing voice in one scene.
I have seen so many productions of this play over the years. Was it possible?
Yes it was. I have fallen in love with this play all over again.
There never was a tale of more woe and poignancy than that of Juliet and her Romeo.
It is official. Today, the 25th November, 2026, the Bell Shakespeare company is 35 years strong. John Bell founded the company in 1990. Its inaugural production was that of Hamlet, and was staged in a circus tent in Sydney in 1991.
Bell Shakespeare’s production of William Shakespeare’s ROMEO AND JULIET, directed by Peter Evans, is playing the Playhouse at the Sydney Opera House until the 7th December 2025.
