Romeo & Juliet at the Abbey Theatre, Dublin

The Abbey Theatre on Dublin's north side stands as an anchor of the Irish cultural experience. Founded in 1899 the Irish Literary Theatre by, among others. William Butler Yeats and Lady Augusta Gregory, the theatre has continued to perform new works as well as classic theatrical pieces, usually to great acclaim. One would think that a company with such a reputation, developed over decades, could put forth a masterful presentation of a guy playing the spoons.

Spoon players might have been more enjoyable than the current production of 'Romeo and Juliet', directed by Jason Byrne, which closed on 22 March 2008. At the very least there might have been more sincere feelings from spoon players than what came from some of the performers. Shakespeare's lines were rehearsed to the point of being mere recitation rather than performance - Mercutio's Queen Mab speech feels more like a wind-up toy than one of the greatest mysteries in Shakespearian plays - and the main direction seems to have been merely "talk faster." Only Friar Lawrence pauses enough to appreciate the gems and emotions within each line. The others tinker about in a storm of dialogue, starting their lines almost before their cues. More feeling comes from a turn of the head of Capulet's henchmen, behind his Joker-like make-up and wig, than in the entire balcony scene.

Shakespeare can trip up the most experienced of actors, but wrestling the words into submission was not the only problem. Tackling the sentiments behind the words seems to have been more difficult for this cast, largely because the timing was sped up so greatly that it was a mystery how the fellow players, let alone the audience, could keep up.

Modern productions of Shakespeare commonly set the plays in time periods other than Elizabethan England. Why not? After all, so many of his plays contain themes - filial disobedience in 'King Lear', jealousy in 'Othello', ambition in 'Macbeth', and most especially forbidden love in 'Romeo and Juliet' - that are applicable at any time and community in history. Byrne, though, must have had some difficulty choosing exactly when he wanted to set his production. Romeo dons a James Dean-esque costume of jeans, a white T-shirt and a black leather vest. Lady Capulet and Lady Montague wear 60's dresses with furs and jewels. Capulet looks and carries himself like an Italian mob boss, while Montague looks more like an aging Fred Astair in his suit and tie. And Juliet? Juliet looks like she could be out on a run to Target in her tunic tank top, skinney jeans and Mary Janes. The weaponry was likewise varied and included Japanese samurai swards, daggers, rapiers and broadswords. The set, designed by Jon Bausor (who also designed the costumes), is functional, though minimalist. Only the lighting designer, Paul Keogan, performed flawlessly, creating more atmosphere than almost any of those you see on stage.