Romeo and Juliet

The Summer Shakespeare presentation of Romeo and Juliet offers the surprise of what could comfortably be described as a "traditional production". In West Side Story and the Baz Luhrmann film the play proved to be an effective vehicle for a raucous celebration of all that was most contemporary in youth culture.

By contrast, director Mathew Gillanders has dressed his players in 17th-century costumes and finds inspiration in the staging conventions of the High Renaissance. Such restraint coupled with an obvious reverence for the text is disconcerting in a young director but perhaps mirrors the deep conservatism that is emerging as the hallmark of his yet to-be-named generation.

It offers a refreshing antidote to the directorial flourishes that are all about showmanship, though it is a mistake to imagine that respect for tradition necessarily brings us any closer to Shakespeare's intentions.

The play is given a cool, classical feeling along with pace, clarity and attention to the sublime quality of the verse. This emphasis places unrealistic demands on the young cast who are unable to deliver the vocal prowess required by Shakespeare's iambic pentameter.

The university's neo-gothic buildings are used as the stage set and when combined with the elegant period costumes they create a dispirited Verona in which it is difficult to feel that in "these hot days, is the mad blood stirring". With the masked ball taking place on an almost empty stage, the production fails to convey the social comedy and exuberant night life of the setting.

Elizabeth McGlinn as Juliet shows a dignified sweetness and is particularly moving as the victim of parental insensitivity. She beautifully captures the aching anticipation of the "Come night" speech but when Romeo does come their liaison lacks the frenetic energy of illicit teenage sex.

Julian Toy-Cronin's Romeo effectively conveys the self-absorbed quality of sulky adolescence as well as Romeo's later hysteria. What is missing is the suggestion that he can't wait to leap into bed with Juliet.

Pascal Tibbits as Mercutio brings a much needed sense of Latin bravado and his finely choreographed duel with Tybalt is a highlight.

Friar Lawrence is portrayed sympathetically by Richard Thompson who gives the bungling herbalist an aura of spiritual goodness.

Taken as a whole, the production reminds us that when the story is simply told it will always excite a tender sympathy for the star-crossed lovers. The outdoor setting, on a balmy Auckland night, lends an engaging alchemy that allows the audience to feel involved in the action.

*What: Romeo and Juliet
*Where: Auckland University Quad