The Children of an Idle BrainA Review of Romeo and Juliet at A Noise Within
234 S. Brand Blvd., Glendale, CA. 91204
Date: 25 March 2007
The theatre A Noise Within may not seem like a grand structure among the neighboring shopping malls, office buildings, and restaurants. However, this old Masonic temple holds more grandeur within its near century old walls than does its contemporary neighbors. It is in this aging temple/teenage theatre that a nearly full house awaits on pins and needles to partake of the story of star-crossed lovers, blood feuds, and death that is Shakespeare’s Romeo and Juliet.
Director Michael Murray does an awe-inspiring job conveying the comedy, romance, and tragedy of this Shakespearean classic, with the help of a cast of very talented actors of course. All of the actors in Murray’s production of Romeo and Juliet do a splendid job with their character/characters, but there are two players that—in this reviewer’s opinion—steal the show.
J. Todd Adams’ portrayal of Romeo’s fearless, garrulous friend Mercutio is one of the outstanding performances that stole the show, and audience attention—despite his minute break of character when a bulb blew in one of the overhead spotlights. For instance, Adams’ energy and conviction when delivering Mercutio’s throaty Queen Mab oration is unabashedly mind blowing—proving that we all suffer from “the children of an idle brain” (1.4.97). Also, when Mercutio is slain by Ken Merckx’s fiery Tybalt; Adams’ raging sincerity—“A plague o’ both your houses” (3.1.90)!—brought forth tears to some of the audience members eyes—including mine own. Not to mention, that after Mercutio’s tragic death Adams sprung into action with a fire extinguisher when a couch fire broke out in the alley behind the theatre. A fact none of the audience was privy to until after the show was over.
The other scene thief in Murray’s production is the bawdy Nurse, played brilliantly by accomplished actress Deborah Strang. Strang’s portrayal of Juliet’s robust and bawdy nurse commanded the audience’s attention and at times laughter in every scene that dared to contain her—which is quite often. For instance, the point in act two scene four when Adams’ Mercutio playfully accosts Strang’s Nurse left the whole audience in stitches. Most notably when the Nurse beats Michael Thompson’s Peter with her handbag for letting Mercutio use the Nurse “at his pleasure” (2.4.153)—hilarious!
Murray’s production of Romeo and Juliet—Murray has set scene in 1930’s Italy with Tybalt as a Nazi SS officer—is a robust display of gut wrenching comedy and melancholy tragedy. The fight scenes—choreographed by Ken Merckx—are breathtakingly daring. Most notably the initial fray that begins the play, which finds the small stage filled to the brim with action. The first half is exciting, energetic, and comical; while the tragic second half is rightly slower than the hilarious first half of the play. The continued great performance of Mark Bramhall as Friar Laurence is a definite high point of the play’s second half. Although I wasn’t overly impressed with Steve Coombs’ Romeo—Coombs flubbed a couple lines—or Joy Osmanski’s Juliet, the five hour round trip and fourteen dollar admission fee are well worth the experience of seeing a live production of a Shakespeare classic.
Overall, Murray’s production of Romeo and Juliet is a joy to behold, with the modest stage used to its fullest potential and 1930’s costumes—courtesy of Denitsa Bliznakova—are lavish, especially those worn during the masque. A Noise Within will be featuring Murray’s production of Shakespeare’s Romeo and Juliet from March 24 thru May 25. So, grab a friend, loved one, classmate, stranger, or just lone wolf it and go have an awesome theatre experience at A Noise Within, you will not be disappointed.
Work Cited
Shakespeare, William. Romeo and Juliet. The Complete Works of Shakespeare: Shakespeare’s Tragedies, 5th Edition. Ed. David Bevington. New York, NY: Pearson/Longman, 2007. 1009-1050.
Date: 25 March 2007
The theatre A Noise Within may not seem like a grand structure among the neighboring shopping malls, office buildings, and restaurants. However, this old Masonic temple holds more grandeur within its near century old walls than does its contemporary neighbors. It is in this aging temple/teenage theatre that a nearly full house awaits on pins and needles to partake of the story of star-crossed lovers, blood feuds, and death that is Shakespeare’s Romeo and Juliet.
Director Michael Murray does an awe-inspiring job conveying the comedy, romance, and tragedy of this Shakespearean classic, with the help of a cast of very talented actors of course. All of the actors in Murray’s production of Romeo and Juliet do a splendid job with their character/characters, but there are two players that—in this reviewer’s opinion—steal the show.
J. Todd Adams’ portrayal of Romeo’s fearless, garrulous friend Mercutio is one of the outstanding performances that stole the show, and audience attention—despite his minute break of character when a bulb blew in one of the overhead spotlights. For instance, Adams’ energy and conviction when delivering Mercutio’s throaty Queen Mab oration is unabashedly mind blowing—proving that we all suffer from “the children of an idle brain” (1.4.97). Also, when Mercutio is slain by Ken Merckx’s fiery Tybalt; Adams’ raging sincerity—“A plague o’ both your houses” (3.1.90)!—brought forth tears to some of the audience members eyes—including mine own. Not to mention, that after Mercutio’s tragic death Adams sprung into action with a fire extinguisher when a couch fire broke out in the alley behind the theatre. A fact none of the audience was privy to until after the show was over.
The other scene thief in Murray’s production is the bawdy Nurse, played brilliantly by accomplished actress Deborah Strang. Strang’s portrayal of Juliet’s robust and bawdy nurse commanded the audience’s attention and at times laughter in every scene that dared to contain her—which is quite often. For instance, the point in act two scene four when Adams’ Mercutio playfully accosts Strang’s Nurse left the whole audience in stitches. Most notably when the Nurse beats Michael Thompson’s Peter with her handbag for letting Mercutio use the Nurse “at his pleasure” (2.4.153)—hilarious!
Murray’s production of Romeo and Juliet—Murray has set scene in 1930’s Italy with Tybalt as a Nazi SS officer—is a robust display of gut wrenching comedy and melancholy tragedy. The fight scenes—choreographed by Ken Merckx—are breathtakingly daring. Most notably the initial fray that begins the play, which finds the small stage filled to the brim with action. The first half is exciting, energetic, and comical; while the tragic second half is rightly slower than the hilarious first half of the play. The continued great performance of Mark Bramhall as Friar Laurence is a definite high point of the play’s second half. Although I wasn’t overly impressed with Steve Coombs’ Romeo—Coombs flubbed a couple lines—or Joy Osmanski’s Juliet, the five hour round trip and fourteen dollar admission fee are well worth the experience of seeing a live production of a Shakespeare classic.
Overall, Murray’s production of Romeo and Juliet is a joy to behold, with the modest stage used to its fullest potential and 1930’s costumes—courtesy of Denitsa Bliznakova—are lavish, especially those worn during the masque. A Noise Within will be featuring Murray’s production of Shakespeare’s Romeo and Juliet from March 24 thru May 25. So, grab a friend, loved one, classmate, stranger, or just lone wolf it and go have an awesome theatre experience at A Noise Within, you will not be disappointed.
Work Cited
Shakespeare, William. Romeo and Juliet. The Complete Works of Shakespeare: Shakespeare’s Tragedies, 5th Edition. Ed. David Bevington. New York, NY: Pearson/Longman, 2007. 1009-1050.
No comments:
Post a Comment