Romeo And Juliet [Open Air Production]

Maskers Theatre Company Townhill Park House, The Gregg School, Southampton David Cradduck

  18 July 2024

It’s summertime, the rugs and champagne flutes have been dusted off, the camping chairs loaded and the quick dash back to the house for the mozzie spray and hats accomplished.

Now in their sixth decade, Maskers Theatre Company certainly know a thing or two about open-air theatre and the ever-popular Romeo and Juliet playing at The Gregg School, Townhill Park until 27 July is perfect for the group’s many talents. This is the Maskers’ fifth year at Townhill Park, having previously spent many happy summers at Mottisfont Abbey and Hamptworth Park.

Normally utilising the larger, western side of the beautiful Georgian Townhill Park House (ironically remodelled in Italian style in the early part of the 20th century), this latest show has moved location to the other side of the house where a more intimate setting with its slightly raised terrace lends itself to be the Verona home of the Capulets, aided by a couple of set constructions to represent Juliet’s sleeping quarters (and that famous balcony) and her family’s drawing room. Entrances and exits are accomplished by at least four different routes, including the main house entrance itself, and the distances involved are controllable to ensure no delays in arriving on stage.

For Shakespeare aficionados, the play needs no introduction. Indeed, even those with scanty or no knowledge of the bard’s works will know the rudiments of the story: two well-to-do families in Verona, the Capulets and the Montagues, have a long-standing feud which immediately presents the gloomy backdrop and problems for the fated relationship between the Capulets’ daughter, Juliet, and the Montagues’ son, Romeo. They are forced to court in secret and in lightning-quick time they are married in secret, thanks to the services of Juliet’s loyal nurse (who, having lost her own daughter of a similar age is more of a mother to Juliet than her real one) and the good natured and well-meaning Friar Laurence.

A duel between Juliet’s trouble making cousin, Tybalt (played with suitable Italian excess by Adam Taussik), and Romeo’s friend and ally, Mercutio (Sam Hussey), ends with Mercutio dead and Romeo no longer able to resist having some satisfaction by duelling with Tybalt himself and killing him in a fair fight not of his making.

This presents a dilemma for all concerned (including Juliet) and, as the body count begins to stack up, things become impossible for the loving pair. It is impossible to even spend any time together let alone declare their marriage openly. Thoughts turn to suicide and, for the sake of avoiding spoilers, I won’t reveal too much more except to say that it doesn’t end well. In fact, it has a tragically sad ending which the cast treat with reverence and sympathetic clarity rather than playing it for effect. Good direction.

Heading up the cast of main protagonists is Neil Forster, a relative newcomer to the Maskers lineup, with a commendable portrayal of the happy and balanced Romeo, who becomes someone quite different when things go pear-shaped. Juliet is beautifully played by Katherine Evans and her ability to show range of emotions is put to the test on many occasions during the play – as well as her ability to play a ‘corpse’ for a good half hour in full sight of the audience.

Lord and Lady Capulet are played by Jezz Minns (actually a bit of a nice guy underneath it all) and Kate Grundy-Garcia (with effectively venomous disdain), and Lord and Lady Montague by veteran Maskers performers Philip de Grouchy and Jenni Watson.

Standout performance for me must be Abi Linnartz in the tricky but rewarding role of Nurse. Tricky because she must talk non-stop, come across as fiercely loyal but a little dim, laugh her socks off one minute and cry in despair the next. Rewarding because she has some of the best lines, affords some light relief in an otherwise dour plot and because her performance stands out as an exemplary example of fine entertaining.

A solid supporting cast, including Rob Iliffe as Benvolio and Duncan Randall as the good friar, provides the glue that binds the show together and the pace is good, the lines delivered well – no mics that I was aware of – and the art of playing crowd scenes in the open air is well executed thanks to some deft direction by Brian Stansbridge. There are some convincing sword/fight scenes – remember that duelling was commonplace in 16th century Verona, even if it was illegal, and the staging ensures that every inch of the space available is used. The occasional scene when someone is lying on the ground will sadly be missed by all except the first two rows as there is no obvious raised stage or raked seating.

The costumes appear to be set in Georgian/Jane Austen times which works well and suits the story, even if it’s meant to be much earlier (of course the play is based on even earlier versions of the star-crossed lovers of Verona).

Diction is good and every word, whether Shakespeare’s vocabulary and style is fully understood or not, and is delivered with confidence and sufficient volume to be heard, even in the quieter scenes. With open air acting, it is imperative to keep the volume up (without being shouty) and projected straight out to the audience; one or two of the cast occasionally dip their heads or turn to talk to the recipient at which point the speech can become difficult to hear clearly. But overall the delivery is superb and the director should be very proud of his team.

I was a little disappointed with the lighting when it was required after the interval. It is a little too white (some colour might have helped to pick out warmer and cooler areas in various scenes) and there are a few dark, unlit patches, the main one unfortunately dead centre mid-stage where it falls between the two main light sources. I’m sure that could be adjusted. A little lighting from the side might also alleviate some harsh shadows. For instance, Lady Capulet’s face is entirely eclipsed when sitting on the bed with Juliet in one scene.

But these are finer points and the whole production amounts to a thoroughly enjoyable evening’s entertainment – bravo, Maskers.

For more information about the show, ticket availability and Maskers generally, go to maskers.org.uk. Then pop that bubbly in the fridge, get your picnic and chairs sorted, and don’t forget the mozzie spray and blanket (it can get a bit chilly after dark).