Flabbergast Theatre return to Wilton’s with their award-winning approach to the classics. Romeo and Juliet is brought to life with a fresh and innovative outlook, embracing physicality whilst celebrating the verse and bringing musicality and simplicity to the storytelling. This is a tragedy with laughter and tears, beautiful poetry, bawdy jokes and some impressive swashbuckling to boot: expect live music, clowning, mask work and a thoroughly enjoyable evening.
We caught up with Flabbergast’s artistic director Henry Maynard to learn more about the piece which he directs and stars in.
What can you tell me about this production of Romeo and Juliet?
It is excellent! It has now attracted four five-star and five four-star reviews. It is raucous, fast-paced, bloody, funny and tragic. I am immensely proud of what we have achieved with it. There are sword fights, songs, dances, hilarity and tears.
It is excellent! It has now attracted four five-star and five four-star reviews. It is raucous, fast-paced, bloody, funny and tragic. I am immensely proud of what we have achieved with it. There are sword fights, songs, dances, hilarity and tears.
How do you approach bringing Flabbergast’s style to the piece?
We work through a long development period with several stagings along the way. This process started in April last year. We rehearsed and toured version one over the summer, andwent back in to redevelop the piece before this run, pulling everything apart and creating a far more accomplished production. We work very physically, with daily training that serves to feed the body and voice of the actor, incorporating mask, clown, butoh, and dance. This, alongside musical research, is at the heart of what we do.
We work through a long development period with several stagings along the way. This process started in April last year. We rehearsed and toured version one over the summer, andwent back in to redevelop the piece before this run, pulling everything apart and creating a far more accomplished production. We work very physically, with daily training that serves to feed the body and voice of the actor, incorporating mask, clown, butoh, and dance. This, alongside musical research, is at the heart of what we do.
What is the biggest challenge of staging a piece like this, which has such a rich history and is constantly re-staged?
A lot of Shakespeare productions either rely on a novel setting (cowboys, anyone?) or a modernisation (if I see another actor pretending to be a soldier in DPMs holding a rifle in a version of Macbeth, I’ll puke). I prefer to build our own world, influenced by the play’s setting but with perversions that help to highlight dissonance. We have to create something true to the soul of the piece but that has a Flabbergast twist.Obviously, these plays have been produced thousands of times. We focus on truly bringing our artistic vision and signature to them. They must be Flabbergast as much as they must also tell and serve the story.
How do you go about making the piece feel fresh and innovative?
Our production benefits from a physical approach rather than a psychological realism one. We refuse the talking heads that so much theatre in the UK relies on — to act is to be physical.We also devise in collaboration, and so the vision is eclectic rather than being one ‘King’ director’s — which I feel is an immense advantage.
Our production benefits from a physical approach rather than a psychological realism one. We refuse the talking heads that so much theatre in the UK relies on — to act is to be physical.We also devise in collaboration, and so the vision is eclectic rather than being one ‘King’ director’s — which I feel is an immense advantage.
How much of a key element is music to a production like this?
Music is more and more a key part of our performances. I much prefer music that is created live and reacts to, and is inspired by, the action rather than recorded tracks. All of the cast sing and help to create soundscapes, playing instruments and even the set. In this production particularly, we were looking at lament and discords amongst the more beautiful compositions.
Music is more and more a key part of our performances. I much prefer music that is created live and reacts to, and is inspired by, the action rather than recorded tracks. All of the cast sing and help to create soundscapes, playing instruments and even the set. In this production particularly, we were looking at lament and discords amongst the more beautiful compositions.
You also star in the show as Lord Capulet/Benvolio. What is your approach to these characters?
Benvolio is often played a bit dry. I feel like he has to be one of the ‘boys’ even if he is always trying to split up the fights. I tried to make him as playful as possible with a world-weary attitude. Lord Capulet is the classic patriarch, but I do feel like we have to feel his genuine love for his daughter if we are to get the payoff in the scene where he threatens to disown her if she doesn’t marry Paris. I’ve tried my best to offset his explosive outbursts against an amenable demeanour.
Benvolio is often played a bit dry. I feel like he has to be one of the ‘boys’ even if he is always trying to split up the fights. I tried to make him as playful as possible with a world-weary attitude. Lord Capulet is the classic patriarch, but I do feel like we have to feel his genuine love for his daughter if we are to get the payoff in the scene where he threatens to disown her if she doesn’t marry Paris. I’ve tried my best to offset his explosive outbursts against an amenable demeanour.
If you were able to, what question would you like to ask Shakespeare about the play?
Did you write it?
Did you write it?
What was the first piece of theatre you saw that had a big impact on you?
I saw Hull Truck Theatre do Our Country’s Good when I was doing my GCSEs and it blew me away. I remember they had a platform suspended by chains that they used as the boat and then repurposed into a table in the scenes — I loved that!
I saw Hull Truck Theatre do Our Country’s Good when I was doing my GCSEs and it blew me away. I remember they had a platform suspended by chains that they used as the boat and then repurposed into a table in the scenes — I loved that!
How do you reflect on your career to date?
I have been very fortunate. As an actor, I have toured the world, playing venues such as Sydney Opera House and Madison Square Garden, as well as small festival venues. I was the lead antagonist in a multi-million-pound Indian film (Sye Raa Narasimha Reddy), been on the West End several times, and I directed and devised five separate immersive shows taking place over several Caribbean islands.
I have been very fortunate. As an actor, I have toured the world, playing venues such as Sydney Opera House and Madison Square Garden, as well as small festival venues. I was the lead antagonist in a multi-million-pound Indian film (Sye Raa Narasimha Reddy), been on the West End several times, and I directed and devised five separate immersive shows taking place over several Caribbean islands.
I started Flabbergast in 2010, and within two years we were the second-highest rated show at the Edinburgh Fringe. Since then, we have toured all over and had great fun doing it! I suppose my only frustration is how hard it is to break into or get any kind of recognition from UK institutions, even with the level of success that we have… but we are the weeds in the cracks — we will continue to grow regardless.
What do you hope an audience takes away from seeing Romeo and Juliet?
I hope Shakespeare lovers will take away a new, vibrant perspective, and physical theatre lovers will gain a new appreciation for Shakespeare. I would hope that people will leave having been entertained and moved.
Where and when can people see the show?
Wilton’s Music Hall until the 21st June and Macready Theatre in Rugby on the 23rd.
Flabbergast Theatre: Romeo and Juliet is performing at Wilton’s Music Hall from the 10th to the 21st of June. Tickets available HERE.
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