Romeo and Juliet

May 1st - October 19th Festival Theatre Ticket Info
Generally Positive Reviews based on 26 Critics
This is a listing for the 2013 season. For this years shows click here.
26 Reviews
0 Comments

The Record - Robert Reid

According to Reid, under former artistic director McAnuff, Shakespeare productions “slipped and stumbled”. He compared Carroll’s production to “shaking hands with a dear, trusted friend who has been away awhile.”

Read Full Review

The American Conservative - Noah Millman

“In Carroll’s production, the meter is the master…The emotional qualities of the moment take a back seat to the formal qualities of the language – which, in turn, are supposed to convey those emotional qualities, and with more subtlety and complexity than any one actor’s performance could deliver.”

Read Full Review

The London Free Press - John Coulbourn

Coulbourn felt Romeo and Juliet’s relationship is rarely “brought to life.” He notes that Topham has “some lovely, if overly shrill, moments of girlish innocence”, while Briere appears “strangely and determinedly detached throughout”.

Read Full Review

The Globe and Mail - J. Kelly Nestruck

Nestruck notes that director Tim Carroll offers an original interpretation, adding…”If this production, opening Antoni Cimolino’s first season as artistic director, is a reaction to his predecessor Des McAnuff’s occasional inattentiveness to language, it is an overreaction.”

Read Full Review

The Toronto Star - Richard Ouzounian

Ouzounian compiles a list of reasons why he didn’t enjoy the show, including: Director Tim Carroll’s “original principles” staging, “the appalling performance of Romeo by Daniel Briere”, invisible lighting cues and “music-hall style performances.” He does give kudos to Topham, Savage, Nadajewski and McCamus

Read Full Review

The National Post - Robert Cushman

Cushman analyzes the Elizabethan influenced Stratford production of “Romeo and Juliet”, understanding “This isn’t the only way of doing Shakespeare, but it’s a valid and at this moment a revelatory one. It makes some of the overstuffed hi-tech productions of recent years look old-fashioned.”

Read Full Review

Calgary Herald - Jamie Portman

Portman identified a ” distressing lack of chemistry” between Briere and Topham as “Romeo and Juliet”. He credited Grant’s performance in “Measure for Measure”, but found “Rooney convinces us neither of Angelo’s fanatical obsession with ‘fornication and uncleanliness’ nor of his uncontrollable lust for Isabella.”

Read Full Review

The Hamilton Spectator - Gary Smith

Smith regards Topham as “a beautiful, graceful Juliet, filled with the sweet awakening of love. She speaks Shakespeare’s poetry with a gentle, romantic lilt.” However, he notes that other than her performance, “nothing much works in this clumsy production.”

Read Full Review

Stratford Gazette - Chet Greason

Greason didn’t enjoy the “original practices” use of lighting, as it “comes off as simply lazy, and the visible audience hurts the play’s intimacy.” He gives credit to the accurate acting, finding “Goad particularly shines as the ribald Mercutio.”

Read Full Review

Detroit Free Press - John Monaghan

Monaghan found Carroll’s approach “makes the nearly three-hour show run a little more smoothly but stifles some of the emotion, from Romeo’s reaction to the riot to his discovery of Juliet in her tomb.” He calls the lighting “a memorable bit of stagecraft in an otherwise forgettable production.”

Read Full Review

Buffalo News - Ted Hadley

Hadley reviews “Romeo and Juliet”, “Blithe Spirit”, and “Mary Stuart”. He enjoyed the “original practices” method in “Romeo and Juliet”, but thought Briere “is not effective”. Hardley praises the “superb” cast of “Blithe Spirit” and states director “Cimolino has assembled one of Stratford’s best casts in years” for “Mary Stuart”.

Read Full Review

The Slotkin Letter - Lynn Slotkin

Reviewing two plays, Slotkin suggests that Tyrone Savage, an up-and-comer in “Romeo and Juliet”, could have played Romeo. Slotkin gives kudos to the graduates of Stratford’s Birmingham Conservatory that Martha Henry cast in “Measure for Measure.” Henry is the Director of the Conservatory and responsible for the training.

Read Full Review

Milwaukee Journal Sentinel - Mike Fischer

Fischer finds common themes in the various productions he saw, including “Tommy”, “Fiddler on the Roof”, “Waiting For Godot” and a preview of “Taking Shakespeare”. He notes “Cimolino has succeeded, spectacularly — allowing plays written and set centuries apart to speak to each other and to us in new ways.”

Read Full Review

Broadway World - Kelly Cameron

“As an introduction to Shakespeare, this could work well [but] it was hard to shake the feeling that the play was more comedic than it should be, and I felt myself longing for some semblance of the true Shakespearean tragedy by the end of the evening.”

Read Full Review

Southgate News Herald - Phillip Dorian

Dorian regards “Fiddler on the Roof”, “Measure for Measure”, “Romeo and Juliet” and “Tommy”. He praises Feore’s “inspired direction and choreography” in “Fiddler on the Roof” and the “successful ensemble effort” in “Measure for Measure”. Dorian calls Topham “a luminous Juliet” and states “Cilento’s choreography is thrilling”.

Read Full Review

The Beat Magazine - Geoff Dale

Dale disliked how the title characters “are resurrected just in time to take part in a rousing song and dance number that would make the producers of TV’s cloying Glee recoil in embarrassment and horror.” He enjoyed Topham,McCamus,and Savage but said Briere had “the least appealing performance of the night”.

Read Full Review

Stratford Beacon Herald - Donal O'Connor

O’Connor felt Topham “shows she is up to the task” as Juliet, but stated Briere’s performance as Romeo was “less successful”. Despite the contrast and missing chemistry, he felt the production made up for it with “the power of Shakespeare’s script and the great work of the supporting cast”.

Read Full Review

Robyn's Reviews - RL Godfrey

Godfrey states ” It appears Mr. Carroll asked his cast to give it [iambic pentameter] a whirl, but only Tom McCamus (Friar Laurence) and Jonathan Goad (Mercutio) really use it consistently and to any advantage.” She felt the whole production “is an interesting experiment in time-travel…solidly acted for the most part.”

Read Full Review

Stage Door - Christopher Hoile

Hoile called the most of the “Romeo and Juliet” cast “ill-prepared to act Shakespeare at all, much less in the style of Original Practices.” He praises Nadajewski who “makes more of the small role of Peter, the Nurse’s servant, than most of the actors do of larger parts.” Hoile also credits Topham and Wentworth.

Read Full Review

Entertain This Thought - Mary Alderson

Alderson thought Topham and Briere “play the roles as the children they were intended to be. Topham is a juvenile 14, giggling her way throughout. Briere also seems very immature, smiling inappropriately much of the time…As a result the audience is not invested in their relationship; in fact, they seem to be infatuated school kids with crushes.”

Read Full Review

Artes Magazine - Herbert Simpson

Simpson stated calling “Romeo and Juliet” disappointing “would be an epic understatement”. He found “Carroll’s approach to the great tragic love story was so mannered, artificial and off-putting that neither Shakespeare nor Stratford came off looking like anything a theater-lover would want to waste time watching.”

Read Full Review

Reviews Breakdown

10 6 10

Stratford Festival Reviews Featured On

http://stratfordfestivalreviews.com/wp-content/uploads/2016/03/CTV.jpg
http://stratfordfestivalreviews.com/wp-content/uploads/2016/03/CFRB.png
http://stratfordfestivalreviews.com/wp-content/uploads/2016/03/toronto_star_logo.png
http://stratfordfestivalreviews.com/wp-content/uploads/2016/03/lfp1.png
http://stratfordfestivalreviews.com/wp-content/uploads/2016/03/cbc.jpg