![]() It’s a daring and effective device: when for instance, Juliet waits impatiently in her bedroom for Romeo to come and consummate their marriage, to her left we see the still twitching corpse of Mercutio. Rather than leaving the stage once their scene has finished, actors either freeze or move in slow motion round the central action, becoming ghostly witnesses to the escalating horror. Half lit human figures push against it, like prisoners trying to get out of a cell their struggle looks impossible, futile until the moment when the whole rockface tilts over to become the horizontal bedrock of their bleak new world.įrecknall has deliberately stripped the play of social context her key innovation has been to edit the play so that scenes overlap, creating moments in which characters are besieged by their past, present and future. In the starkly potent opening sequence we don’t hear the prologue: instead it’s projected onto what looks like an impenetrable rockface (pictured below). ![]() ![]() At her very best, this powerfully instinctive director creates productions that seem to plug straight into the nervous system, capturing every electrical impulse that drives the characters’ deepest desires. ![]() A Frecknall production these days arrives bearing the weight of high expectations just whisper the words Summer and Smoke, Cabaret, or A Streetcar Named Desire, and most avid theatregoers will spontaneously combust. ![]()
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