The old tale of forbidden love, family feuds and unhappy fate is here again told at The Gatehouse in Highgate. The emblematic story of Romeo and Juliet, two lovers from opposing families who fall in love at first sight and suffer a series of misfortunes ending in profound tragedy, is presented in a new light altogether in this abridged and rearranged version, by removing the emphasis from the young lovers and focusing it instead on the supporting characters. Something deeper is thereby revealed, something that Is not obvious in productions where the attention is fixed exclusively on Romeo and Juliet and their fate. In this version the characters of Lady Capulet (Lord and Lady are combined here in the one parental Matriarch), Juliet's nurse, Benvolio, the Priest and their relationship with each of the lovers, is the main subject. The production subtly points out each individual character's hopes for the future and their past grudges against one other. The eventual tragedy is made more poignant by the fact that Romeo and Juliet figured so significantly in the lives of each, who – we forget – thereby lose someone they loved. 
      Even though the script alterations are minimal, by spreading the weight of the story over the whole cast some of the power is lost. Will Beer and Ruth Bratt make sterling efforts in their respective parts as Romeo and Juliet. Gilly Cohen and Donavan Cary bring depth to the characters of Lady Capulet and the (male) nurse. The former is matriarchally self- absorbed, viewing her daughter as just another thing to deal with; the latter wants the best for the future happiness of his ward and surrogate daughter. The minimalist stage setting helps keep the attention closely upon the redistribution of emphasis. The result, although not fully persuasive, is a highly interesting experiment in Shakespearian revision.
Elizabeth Shenton