The Weekend Australian - Review - - Out & About - John McCal­lum Elias Vison­tay

There is a fine tra­di­tion of mak­ing Romeo and Juliet very young and naive, dat­ing back at least to Franco Zef­firelli’s revo­lu­tion­ary film ver­sion in 1968. That cer­tainly ex­plains the breath­less fool­ish­ness of their light­ning-fast ro­mance. Peter Evans’s new pro­duc­tion ap­pears to be go­ing for some­thing like that but, in a play al­ready full of ab­surd coin­ci­dences, the re­sult is so fran­tic, the per­for­mance style so ex­ag­ger­ated and the tone so crudely en­er­getic that the tragedy is all but lost. Kelly Pa­ter­niti, as Juliet, comes clos­est to pulling this style off. Her per­for­mance is very clear, as a feisty girl who falls for a Romeo whose main ap­peal seems to be that he is noth­ing like any­one else in her fam­ily. Syd­ney Opera House, Ben­ne­long Point. To­day, 2pm and 7.30pm. Tick­ets: $35-$90. Book­ings: (02) 9250 7777. Un­til March 27. 80 Min­utes No In­ter­val Failed nov­el­ist Louis has turned to theatre re­view­ing af­ter a se­ries of hard­ships — a breakup with his girl­friend, be­ing kicked out of his par­ents’ home, and even a stint in prison. De­spite this run of bad luck, he re­mains de­ter­mined to pur­sue his am­bi­tions as a writer. Writ­ten and di­rected by Travis Cot­ton. Old Fitz Theatre, 129 Dowl­ing Street, Wool­loomooloo. Opens Tues­day. Tick­ets: $38. Book­ings: (02) 9356 3848. Un­til April 9.

Heavy Ar­tillery Han­nah Gadsby: Dog­matic Co­me­dian Han­nah Gadsby “at­tempts to ex­plain her thought pro­cesses and woe­ful life choices that have led her to where she is to­day” with char­ac­ter­is­tic sar­casm and dead­pan hu­mour. The show is on a na­tional tour.

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