ON SALE NOW - http://shakespeareinthesquares.co.uk/
21st June 2017 - Leinster Square W2 - SOLD OUT
22nd June - St. James's Gardens W11
23rd June - Elgin and Arundel Gardens W11
24th June - Queen's Park NW6
27th June - Norland Square W11
28th June - Montague Street Gardens (Bedford Square Festival) WC1
1st July - Norfolk Square Gardens W2
4th July - St. James's Square SW1
5th July - Connaught Square W2
7th July - Crescent Gardens W9
8th July - Little Wormwood Scrubs Park W10
11th July - Wandsworth Common SW18
12th July - Ladbroke Square W11
13th July - Cleveland Square W2
We are delighted to announce that our 2017 production will be Romeo and Juliet. The production will be directed by Tatty Hennessy.
Tatty trained at LAMDA. She recently directed The Snow Queen (Theatre N16) and Acorn (Courtyard Theatre).She has directed work for Pint Sized, Miniaturists,Theatre Renegade, Not Too Tame, and The Reversed Shakespeare Company. She is an associate director with Merely Theatre, a Shakespeare repertory company about to embark on their second UK and Ireland tour. She has been an associate director at the Lyric Theatre, Park Theatre and Shakespeare’s Globe, including The Duchess of Malfi in the Sam Wanamaker Playhouse, and the world tour of Hamlet, which visited every country in the world over two years. She is also a playwright and graduate of the Royal Court and Lyric Young Writers' Programmes.
Note from the Director
To me, the heart of Romeo and Juliet is the generational divide between the young and old, and the exploration of the devastating consequences of blindly inherited feuds. Of all of Shakespeare’s tragedies it is the most youthful, full-blooded, sexually charged and heady, full of paeans to the speed of young love, the giddiness of youth, the rashness of quick violence, the heat of the summer. I wanted a setting that would play well to the colour and light, as well as the tragic, in Shakespeare’s text.
So I’ve been drawn to the play’s Italian setting, and, inspired by the Elena Ferrante novels, have set the play in sun-drenched 1950s Italy. It’s a fascinating decade, on the cusp, with perhaps the greatest divide of expectation and experience between generations of the century, half looking back to a time of war and deprivation and half looking forward to a future of optimism, progress, freer love and greater choice as the country rapidly tore itself out of economic hardship and into prosperity. It was also a time when the idea of the loyalty and strength of the family unit still held great sway, and a place where the spectre of inter-familial feuding and violence was prevalent.
So we see Romeo and his friends as young post-war Italian men, Juliet as a young woman starting to hope for the liberation and choice that women were about to be afforded but still just chafing under the yoke of traditional family expectation and values. Capulet, Montague and the Prince become Italian patriarchs and business magnates, the feud takes on overtones of the mob. Religion, central to the themes in the play in a way not always immediately clear to a modern audience, makes clear sense in a devoutly Catholic context.
Stylistically I want to display the pace and humour of the play to be highly responsive to each space we perform in, and to have no barrier between audience and actor. I want the audience to be a part of every conversation.