BMH’s double bill production foregrounds love and interpersonal connection in a fluid and refreshing take on Shakespearean comedy and tragedy.
Bounding in from all angles, the characters seem to breathe life into the open air space, creating massive energy with bold costuming and a semi-acapella soundscape of shouts and cheers as Troilus and Cressida begins.
The simplified staging makes great use of the Oxford Castle & Prison’s ancient stone architecture throughout the double bill in a unique and malleable space.
This sparse stage allows performance to take precedence, the mischievous humour of the cast, first found in Angus Fraser’s portrayal of Pandarus, bubbles its way throughout the production, creating a joyful atmosphere.
There is great strength in the subtlety of interpersonal relationships; some of my favourite moments of the night being small improvisations – or extremely natural deliveries – of muttered discussions and connection between characters.
In Troilus and Cressida, Elizabeth Champion, as Odysseus, achieved this throughout. Her flowing delivery rendered the content clear and relatable to the modern audience, an achievement particularly vital in a play so little known compared to its companion piece, Romeo and Juliet.
Both plays are, at face-value, similar star-crossed love affairs. However, as director Jessica Keill states: “when they are laid out directly beside each other (…) the contrast between the two plays is highlighted”. Troilus and Cressida is, after all, one of Shakespeare’s problem plays, the primary romance of which is desecrated by the selling of Cressida as a war prize. This controversial and unripened relationship is well managed by Grace Boag-Matthews’ sensitive and understanding performance as Cressida.
In fact, the play is surprisingly funny and its flexibility allows for a refreshing departure from strictly traditional elements – the sub-romance of Achilles (Joshua Varty) and his lover Patroclus’ (James McDougall) – was explored unapologetically and naturally. This open, queer relationship felt a true and natural reflection of the tragi-comedic complication of the play, ranging from knowing inside jokes about their closeness to their final tragic moments.
As the evening progresses, the forever stifled love of Troilus and Cressida presents a conflicting backdrop in order to uplift Romeo and Juliet’s blossoming love.
The romance of Romeo and Juliet is bursting with giddy young love; Jessica Sexton as Juliet providing a truly honest and effervescent portrayal of passion alongside the equally enamoured – yet less mature – Romeo (played by Joe O’Connor)
The warmth and passion of many interpersonal relationships bloomed in the dramatic modern Italian setting, elevated by Latin music and grounded in Dune-inspired costuming by Catherine Woolley. The jovial interplay and meaningful connection between Juliet and The Nurse (played by Nicola Jones) creates an endearing bond that corrodes as the tragedy progresses. These intense platonic bonds are concurrent and render the imposing devastation all the more potent. Similarly, the drunk, boyish banter of Romeo and his friends has a lovable cheek that is dashed with Mercutio’s catastrophic death, their original closeness corrupted through Mercutio’s (Alistair Nunn) devastating screams as Romeo attempts to physically comfort him again, and again. Throughout the plays moments of physical connection yield great emotional intensity.
As the evening comes to a close, the sparkling romance of Romeo and Juliet begins to shatter and dim; the natural lighting, creeping further into dusk as lights from behind the audience create a crisp, chiaroscuro effect.
For an evening of laughs and love, painted in many complicated forms, this BMH production is well worth your time.
Reviewed by Seren Rees Gardener on 28/06/24