i

duction of Romeo and Juliet.

omeo and Juliet by William:
hakéspeare, directed by ©.
Douglas Campbell. A Bard On
The Beach production in reper
‘ tory with The Taming of the~
hrew (opens July 16). to Sept.
under the tent in Vanier
rks Res:-733-1910, -

fl

; @' balcony scene
that always seems to. -
provide the enduring -

entral image for Romeo -
lieth
as if our need for belief in
‘purity and innocence of young
love blinds us to the fact that ®
outh is also hasty and impulsive.
nd so we remember the pro- .
estations of love from the early
yart.of the play rather. than its six
Itimate deaths — the tragic con-
equences of haste and impulse.
‘it Dobglas Campbell's version of ~-
Ednesplay for Bard On The Beach °
alter pts to redress that balance.
“4yafast-paced, spare yet color-
duction, his young lovers
n&ct so briefly that the strand
as‘parted before we realize that
isthe:secret marriage has been con-
Ssumated. «0. es,
“This'is not a play of lingering
tness, limpid romanticism
od cloying sentimentality in the
early.écenes.
Torguil Campbell's Romeo is
: f-indulgent to the point of
“swagger while Christine Gaidies’
a t45 as direct, in the moment
‘egocentric as any 14-year-old.
They may not be the most sym-
athetic pair of young lovers ever
‘share the same tomb but
ampbell Sr. succeeds in telling a
Story 6f children in a world they
cannot control. ;

wever, | confess to some feel-

ngs'of alienation as | watched

beats a traditionally romantic heart
-yet never warmed up to the
=cocky ebullience of Campbell's

“Romeo until his well-executed ~ - °-

>, Eimaturation in the face of tragedy.
- "This subjective distancing was
‘compounded by annoying vocal
‘traits from both Campbell and
_Gaidies. - -
"Campbell always seemed to be
“on the point of losing breath in
‘longer. run-on sentences, so that |
: often found myself watching the.
“actor instead of listening to the
character. ;-
But this was 'a minor distraction
compared to Gaidies’ repetitively

saree

IS the Eest, and Juliet is the:

niet Ma b
KOS TOM
UAT ait EVRA AAA AK

a
a

_ Martin Millerchip

‘THEATRE REVIEW |

,

“shrill phrasings that became harder

_and harder to absorb as the even-
ing progressed.

That said, Campbell Sr, must be

complimented for the clarity of,
‘diction and meaning that every -

member of the company enjoys.:
. This is a director whose ear for the

word of the Bard is a marvellous
giftto usall. we
Despite the three-hour running

~ time, his subtle editing of the text

also accelerates the action to a

‘point that one wonders how Lord

Hunsdon’s servants (Shakespeare's
company) ever thought they could
perform this play in “the two

cayenne oe
1d Be

me

: : Phato La ne Harder
sun!"’ Christine Gaidies stars as Juliet in Bard On The Beach’s

hours’ traffic of our stage’ op-
timistically’ promised in the origi-

‘nal prologue.

This subtle shaping creates an
easily accessible beginning to the
street brawl in which Mercutio
loses his life and a remarkably ef-
fective lonely death.

While Campbell's vision of

_ children living in a world outside

of their control is sure-handed on
the mortal plane (the adults are
scarcely more mature than the
children), his view of destiny is less
easily discerned.

Shakespeare’s children live ina

’ world where premonition, fate

and destiny hover just off-stage
with the stars over English Bay.
Campbell embodies premoni-
tions of mortality on stage by
utilizing hunched figures with
black cowls and ghoulish masks.
Well and good. With George
Ryan’s effective sound score the
effect is potentially ominous.
ignore if you can the glimpses of
Mara Gottler’s beautiful Byrones-
que costumes that are barely

See Beach page 49

[Think of fy

s Lingerie ...
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