THE story of Romeo and Juliet needs no description – a plague on both your houses, star crossed lovers, a rose by any other name would smell as sweet, wherefore art thou? Phrases so familiar that it’s hard to think of a time when they weren’t part of our daily conversation (well perhaps not daily!) And yet Miranda Armitage’s production at Ilkley Playhouse is one for this generation and it is fascinating to see how seamlessly modern references are absorbed into this story.

The staging is simple, on a broad, open set with two main entrances, one each for the Montagues and Capulets, which helps to distinguish the warring families. Much use is made of the subtle levels, either with characters carefully positioned to emphasise their significance – during the very stylish ball scene, with dancing raunchy enough to make a more innocent Juliet blush, Romeo is an onlooker, hiding behind a mask and an electric guitar at the back of the set. This of course gives him the perfect opportunity to watch and admire from afar - and so the story unfolds.

Joseph Button’s statuesque Romeo is thoughtful and compassionate – his sadness when his kinsmen are slain is palpable, as is his affection for Juliet. He maintains a dignified stance when the characters around him are bawdier, more boastful and aggressive. There are fine, strident performances in these roles from Charlie Ison as Tybalt and Will Lovell as Mercutio, who come across as young men spoiling for a fight, whilst the more measured Romeo is clearly reluctant to get involved, making the tragedy of his actions all the more poignant. With some cross-gender casting, Olivia Potter as Benvolio is every inch ‘the lad’ in her dealings with the other boys but is tender and caressing as a relationship blossoms between her and Balthasar – Elizabeth Rudge. Their duet is particularly enchanting.

Charlotte Armitage’s near feminist Juliet is very much for today. Here is no simpering child but a woman who knows her own mind. When she bids Romeo to ‘stay but a little’, it is more a command than a desperate request. She will not obey her father’s command to marry Paris and her determination to escape the arranged marriage at any cost is tangible. Her seduction scene is bold and brave for a young actress and the audience is left in no doubt as to how the evening will develop.

There are splendid performances from every cast member. The Nurse, Ellen Shorrock, is comical and practical in equal measure – there is a super Yorkshire sensibility to her dealings with Juliet and her mother. Lady Capulet, Sarah Potter, bears all the signs of being ambitious for her daughter – determined to show her off in her best light. Lisa Debney, playing Friar Laurence, gives good counsel and later her recognition of the mistakes she’s made is obvious as her mind contorts with grief and guilt.

The play is further brought up to date with the inclusion of familiar songs which lift and support the atmosphere at various stages. The use of mobile phones and Ipads is another reference to our modern lives, as is the costuming (Calvin Klein should be approached as a sponsor…..).

It is wonderful to see so many of the younger members of the Playhouse taking on challenging roles and they do it brilliantly. At times the cast could afford to slow their delivery to give more time to the text. Without doubt this forward thinking production will have strong appeal to a younger audience and will be a talking point for all for weeks to come. It continues at Ilkley Playhouse until March 18.

by Becky Carter