Romeo and Juliet, Thursday 27th April, Wales Millennium Centre, reviewer: Kirby Evans
This is Shakespeare reimagined. Omidaze theatre company combine aerial cirrus with iambic pentameter to create a stunning performance of a story that has been told a thousand times. 
The two-hour┬áunseated┬áperformance begins its dynamic┬ájourney┬áin the foyer of the theatre, where audience members whisper and┬áscour┬áthe room┬áwith┬áuncertainty┬ábefore the cast members appear┬áamongst┬áthem. Once everyone is finally aware of what is happening, the audience are ushered into an┬áintimate┬áand dimly lit studio, decorated with aerial hoops and acrobatic silks.┬áIt feels elusive and┬áintriguing. Each scene takes place in a different area of the room, creating a real sense of movement┬áand progression as the play unravels. As a┬áresult of the layout of the room, the audience are required to move around the space according to which scene is taking place. There is┬ásomething about┬áhaving the actors directing the audience that brings a sense of vulnerability to the show. It doesnÔÇÖt feel like they are performing for an audience in a theatre, but more that they are guiding them through┬áthe streets of┬áVerona.┬áTo further this, as┬áthe show progresses and audience members’ feet tire, more and more members begin to sit on the floor to watch. Grownups sitting on the┬áfloor┬ácross legged in public isnÔÇÖt considered a social norm and as a result,┬ástrengthens┬áthat feeling of vulnerability, and┬áfurther┬áremoves spectators from the real world,┬áenabling┬áeach person to be┬áfull┬áimmersed┬áin the play.┬áItÔÇÖs pretty cool.
The cast is small. With a grand total of six actors, it means each person plays multiple parts, but the minimalist costumes ensure that character changes┬áarenÔÇÖt┬áa hassle, and there is no ambiguity as to who you are watching. The costumes, as mentioned are certainly minimal. All actors have beige clothes on and when in character will generally have one item of clothing on that┬árepresents┬áwho they are. One could consider it low budget, or in a more positive light it could be seen as stripped back┬áShakespeare, removing any distractions to enable you to fully immerse yourself in the show. That being said, in contrast with this ‘stripped back’ outlook, there are two┬áactresses┬áspinning around in the air frequently┬áthroughout┬á(slightly more distracting than Elizabethan wardrobe one could argue.)┬á Granted aerial┬áacrobatics┬ámust be outrageously difficult and tiring, let alone when they are expected to carry off┬ámonologues┬áwhilst most┬áprobably out of breath. However, given that only two women are ever in the air, and at seemingly random points, it almost feels┬álike an┬áafterthought.┬áthe┬áacrobatics, although incredible,┬ádoesnÔÇÖt┬áseem to┬ábring an awful lot to the play.┬á┬áItÔÇÖs a great idea, and a novel one too, but maybe it needed to be a more central feature of the show.
However, there is a moment that is brought to life with the aid of an aerial hoop. The┬áenergy of one of MercutioÔÇÖs monologues is astounding, and enhanced with the acrobatics; itÔÇÖs this scene where this adaptation really does work well. A Lot of credit goes to the two fantastic acrobats;┬áGemma Creasey┬áand┬áHannah O’Leary, they put their heart and soul into their performances, and this really shines through during interactions between Benvolio and Mercutio. The other character that stands out, is the nurse, played by Kayed Mohammed Mason. When one is asked to recall a humorous character in Romeo and Juliet, for most readers of the play, Mercutio comes to mind, but the audience of this performance are guaranteed to say the Nurse. ┬áMasonÔÇÖs wit and cheek shine a light on a character that could easily have fallen into the background, whilst simultaneously lifting the atmosphere of a true tragedy. And a tragedy it is. The audience are certainly not quick to leave the room once the show has ended, most likely because they stand in awe as the lights come on and they try in vain to process the last two hours and come back down to earth.
Overall, an outstanding performance, although not breath-taking, whether you like Shakespeare or not, itÔÇÖs not one to miss!
 Downfalls: Achey back, feels low budget, slow to get started and not enough aerobatics.  
Highlights:┬áIncredible actors (JulietÔÇÖs tears will rip through you), laugh out loud moments, interesting use of props and it is certainly novel.
by Kirby Evans