13. Romeo and Juliet (1970)

The selection of a play for a school performance can present problems. The producer must be confident that this choice will not demand more or his cast than can reasonably be expected of young amateur actors, many of whom may have had no acting experience. Many producers of school plays are wary of attempting tragedy because the sustained seriousness of the theme can impose too heavy a burden on the resources of a young inexperienced cast. Many producers, too, bearing in mind the tendency to self-consciousness of amateur actors, would avoid a play on the theme of romantic love. At first sight therefore, Mr. Collyer's choice of Shakespeare's Romeo and Juliet for the school's most recent production seemed an ambitious one, and for a producer who had not had Mr. Collyer's experience of directing young people in a great variety of plays the undertaking might have proved perilous. In the event, however, Mr. Collyer's confidence in himself and in his cast showed itself fully justified and the resulting production will be a memorable one for those who saw it, while the performances of the principal actors must rank with the best we have ever seen at St. Nicholas.

Romeo and Juliet has always remained one of the most popular of Shakespeare's plays and the story of its pair of star-crossed lovers is perhaps the most widely known of all his plots. It is not difficult to understand why this play has retained its popularity with audiences. As the Producer's Note in the programme observed, the play presents aspect and problems of human life and relationships which are common to all periods of history and especially relevant, perhaps, to our own: the horrible consequences of violence and subterfuge; the inability of some adults to perceive the needs of the young; the beauty and tenderness of romance contracted with the cynical and selfish approach to love, and above all the enabling power of love which enables the hero and heroine to find courage and maturity as they face hardship together.

Anthony Watkins' excellent performance in the part of Romeo was intelligent and controlled throughout. The young man's swiftly alternating moods of elation and despair were skilfully portrayed and the difference between his early infatuation for Rosaline and the sincerity of his passion for Juliet was subtly conveyed. His final desperate resolution when he entered the Capulet tomb to die by Juliet's side was a worthy climax to a fine piece of acting.

Juliet was played by Susan Little, one of nine pupils of St. Helen's School, Northwood, whom we were fortunate to have as members of the cast. Susan's Juliet combined the freshness of youth with beauty, dignity and tenderness. Her acting partnership with Tony Watkins was a triumph for both and Mr. Collyer was indeed fortunate to have two such sensitive and wholly unselfconscious performers in the leading roles. The tenderness and sincerity of the famous balcony scene and the paths of the lovers' parting on the morning af Romeo's flight into banishment were most moving. Susan Little's ability to use our compassion was further demonstrated in the scene in which Juliet's irascible father, played effectively and with commendable restraint by Neil Saunders, endeavours to browbeat her into a marriage with Count Paris, played by Richard Avery. Her desperation and distress as she pleaded with Friar Lawrence, played by Andrew Page, to devise a means of saving her, and the conviction with which she evoked the nightmare horror of the tomb in which she had consented to be buried alive gave proof of the range of her acting.

The two principals were ably supported by a large cast, all of whom deserve the highest commendation for their dedication and teamwork. An outstanding performance was given by Fiona Goldman as Juliet's nurse. She made the most of the character's cheerful vulgarity, sentimentality and shameless lack of principle. Pia Koller played Lady Capulet and by her grief over the dead Tybalt and the bitterness of her cry for justice against Romeo brought home the appalling consequences of the violence which closed the first half of the play.

Prince Escalus was played by Richard Pell, who gave the character dignity and authority. Derek Warby gave a spirited performance as the mischievous, cynical devil-may-care Mercurio. His rendering of the well-known Queen Mab speech was a sheer delight, Malcolm Newing was a sinister, dangerous and reconcilable Tybalt, but one could not help wondering what qualities could have endeared him to his gentle cousin Juliet!

Romeo's cousin Benvolio was played by Andrew Long who emphasised the steadiness, good sense and sympathetic nature of the character.

The very important role of Friar Laurence was played by Andrew Page. He gave the character a quality of stillness, calm and resignation and his quiet manner was in marked contest to the wild passions and youthful impetuosity which surrounded him.

Richard Avery portrayed Count Parts, the noble, handsome and upright youth whose ill-fate it was to be caught up in the web of events and to lose his love and eventually his life.

Among the many servants, pages, citizens, watchmen kinsmen and others one is especially deserving of mention. Jonathan Wolff's little cameo part as an elderly Capulet relation was an object lesson in what can be achieved with a tiny part by a keen actor.

The scenery was designed and constructed by Geoffrey Morgan and Andrew Page. The use of a predominantly black set emphasised the mood of the play without being too oppressive, and at the same time provided a plain backdrop against which the costumes appeared to effect.

Finally the highest praise and congratulations are due to Mr. Collyer for a superb piece of directing and for his great skill and patience in coaching his company to this very high level of performance. We shall remember his Romeo and Juliet for a long time to come and strive to maintain the standard he has set.

AJ.T.