The Independent

STARS CROSS LOVERS

Juliet and Romeo: A Guide to Long Life and Happy Marriage, Battersea Arts Centre, London

- REVIEW BY ZOË ANDERSON

“Do we have to keep doing this? I hate coming home and finding you dead in different parts of the flat.” In Lost Dog’s dance duet, Romeo and Juliet have survived into adulthood and midlife crisis, still trying to live up to their own reputation for romantic love. In a glorious mix of speech, dance and comedy, Ben Duke and Solène Weinachter dig into the mess of relationsh­ips and memories.

Comic awkwardnes­s tipping into vulnerable emotion is a hallmark of Ben Duke’s work. Juliet and Romeo follows his award-winning one-man show, Paradise Lost (lies unopened beside me), retelling a classic in ways that both deromantic­ise it and focus on its emotional power.

The show is set up as a therapy performanc­e. Now 40ish, Juliet and Romeo are having problems. They’ve tried sweat lodges and couples’ massage and counsellin­g, and think telling an audience about it all might help. Going over their memories, they reenact scenes from their past, both in a modern setting and with scraps of Shakespear­ean dialogue and smartly chosen pop songs.

At first, it leans on the familiar romantic comedy pattern of everyman hero and more presentabl­e heroine. Duke’s hilarious teenaged Romeo is allowed to be messier and more ridiculous than Weinachter’s fierce Juliet; he’s the one who forgets the details, who makes more mistakes. As the story goes on, she pushes into darker territory, exhausted by her baby and tempted by an extramarit­al affair.

The urge to reenact comes from Juliet. She loves being “the real Juliet”, adores Shakespear­e’s version (the writer turned up with a large bottle of whisky and questions; Romeo thinks he may have overshared). He has more doubts, doesn’t know how to tell her he was changing his mind about killing himself. As they bicker over the storytelli­ng, we can see the fissures in their relationsh­ip.

There’s a real tenderness alongside the comedy. The first time we hear the song “Ain’t No Mountain High Enough”, it’s a duet in which they comfort each other at a bleak time. Standing close, they go through tiny, nuzzling movements that open out into dance, full of warmth and intimacy. Later, the same song plays after a bitter argument, with a gaping lack of connection. Reliving the past, they confront their mistakes – but there’s no guarantee that that will help to fix them.

Last day today (lostdogdan­ce.co.uk)

 ??  ?? Wherefore art thou now? Ben Duke and Solène Weinachter’s Romeo and Juliet are 40ish and having one or two problems (Jane Hobson)
Wherefore art thou now? Ben Duke and Solène Weinachter’s Romeo and Juliet are 40ish and having one or two problems (Jane Hobson)

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