Even so, we couldn’t possibly have anticipated the level of his brilliant, manic energy in the role.
News about Geoffrey’s acting.
The sword fight that ends with Mercutio’s death has satisfyingly theatrical fury and flash.
Geoffrey Kent is sitting in a quiet Boulder restaurant making a face as he recounts a fall he took during the Colorado Shakespeare Festival’s production of the ridiculously pleasurable farce “Noises Off.” Don’t fret. It was a planned fall… sort of…
As Garry, Geoffrey Kent is called on to hop up a set of stairs with his shoelaces tied together, fall down the same stairs and tumble over half the furniture, and he does it with such aplomb that the entire audience bursts into applause when he finally comes to rest.
…and certainly because of Geoffrey Kent’s hysterical — and by that I mean I stopped being able to breathe because I was laughing so hard at some of his bits — Garry Lejune.
Mercutio is one hell of a role, with some of the best speeches anywhere in Shakespeare. All in All, Kent’s performance was a tour de force.
Geoffrey Kent delivers the play’s best performance as Mercutio – all of the work’s violence, love and outsized emotion are embodied in his intelligent and affecting characterization.
Geoffrey Kent’s Mercutio is juicy, funny and energetic. His rendition of the Queen Mab speech is superb — a textbook example of how to vivify a monologue everyone has heard a thousand times before — as is the way he handles Mercutio’s death with progressively weakening bursts of rage and frustration rather than the usual gallant attempt at humor.
Talented and leading-man handsome, with a big voice and presence, he booms some of the lines, throws himself on the floor to impersonate a tantruming infant, and twinkles relentlessly at the audience.
It’s hard to decide which of them is silliest. Mueller exuberantly portrays the heroines, Kent delights in taking every opportunity to create more confusion, and Mattfeld is soon is sucked into the accelerating chaos. Their inspired madness is infectious.