Shakespeare 4 Kidz Romeo and Juliet

Ashcroft Theatre, Croydon

***** FIVE STARS

Almost exactly a year ago I had the pleasure of reviewing the Shakespeare 4 Kidz version of The Tempest. I noted a packed Ashcroft Theatre, a roar of excitement from the children as the curtain went up and equal appreciation at the curtain call.

No less enthusiasm greeted their retelling of the sad tale of Romeo and Juliet – all the musical numbers with which the show is sprinkled were packed with a modern beat, comedy or, of course, romance, and all elicited much applause.

Such is the reputation of this home-grown company, which hails from Oxted, that teachers know their pupils will love the show even though, as I confirmed with the youngsters sitting behind me, they had studied the story and knew the ending was a sad one.

From small beginnings with Midsummer Night’s Dream performed by the pupils of Woodlea School in Woldingham, Shakespeare 4 Kidz now have a number of the Bard’s reworked tales under their belts, due to the entrepreneurial skills of Julian Chenery and Matt Gimblett who are responsible, between them, for the words and music. Croydon’s slot came towards the end of a three-month tour, which took the show all over the country before its season in the West End.

Performed by professional adult actors who need good singing voices as well as acting talents, the castings reflected the right ages for the roles with Serena Giacomini a young-looking Juliet and Alex Tomkins a dashing and dishy Romeo. Emma Bennett brought high comedy to her role as Juliet’s nurse with her wonderfully –written vocal (a bit of a curse, could have been worse, I’m Juliet’s nurse).

Tall and imposing with a swirl of his habit, Greg Ashton belted out his Magic Potion Blues as Friar Lawrence an there were good vocals and tomfoolery from Romeo Montague’s mates – Benvolio (Gary McErlane) and the ebullient Mercutio (Jamie Anderson). The Capulets looked menacing under their doomed leader Tybalt (Dominic Gately).

Costumes are simple and modern and the set is mobile and quickly transform the scenes. Simple information messages are back-lit to tell the audience where each scene is set. One of these reads “A Piazza in Verona”, which was learnedly translated by the young pupil behind me a “A Pizza in Verona”. She may still be wondering whether this dish was part of the wedding feast prepared fro Paris and his reluctant “bride”, Juliet.

The company performs two shows a day at each of their venues and it is good to reflect that thousands of youngsters who have seen the show will have had a happy introduction to the works of Shakespeare as well as to the joys of live theatre, both of which bode well for the future of theatre in the UK.

Now, Mr Chenery and Mr Gimblett – I pray you – which one the tales will you tackle next?