Scholars claim it was a traditional Commedia dell’Arte play, La Creduta Morta by Flaminio Scala, that inspired – or at least influenced – Shakespeare in his writing of Romeo and Juliet. Hence the research project that has spawned this splendid 80 minute show, devised by Unitec’s School of Performing and Screen Arts Year Three Acting students with Lecoq-trained Lisa Brickell and voice tutor Linda Cartwright as co-directors.

To the smallest opening night audience I’ve ever seen at BATS – buck up Wellington, welcome fresh talent! – eight actors and four production crew bring Commedia conventions to the Bard’s tragedy. Their facility with Commedia mask and all the emotion-based physicality it entails is largely a delight to behold. Likewise their fluency with Shakespearean text gives us clear access to the oft-told and well-known tale.

With a light touch and refreshing energy, the ensemble rattles through a potted version of the plot, taking infectious pleasure in their work.

Michelle Blundell’s ‘La Signora’ preens and poses as Lady Capulet while Miles Tankle brings ‘Pantalone’ to Old Capulet, although he could do more to convince us of physical and vocal age. He makes a fine Benvolio of ‘Arlecchino’, however.

In a brief appearance as the Prince (‘Capitano’), Alistair Quirke is suitably authoritative but I’d prefer less random leaping about and more deep-felt angst in his Mercutio (‘Brighella’).

These masks can be powerful conduits for inner feelings, often found in relative stillness, but I fear pathos has been the loser in the quest to keep the show whipping along.

Julia Hyde – another elegant La Signora as Lady Montague – finds a good Nurse character in her ‘Columbine’ mask, although why a New Zealand actress should do an Italian character in a Cockney accent is beyond me (unless she herself is English).

Rory McKinnon brings impressive physical distinction to his dotty Friar Laurence (‘Dottore’), excitable Peter (Predronlino’) and decrepit Old Montague (‘Pulcinella’). With a strong stage presence, Kayne Ngatokowha Peters also distinguishes well between Paris (‘Lover’) and Tybalt (‘Capitano’).

Without masks, except at the Capulets’ party, Damien Harrison and Morgana O’Reilly play Romeo and Juliet with a splendid range of youthful feelings, all the more effective for avoiding the slightest hint of ‘elocution’. Whether she’s smitten or stroppy, O’Reilly is strongly heartfelt. Harrison excels in acrobatic moves, in the fight scenes and leaping to the balcony.

The fights are extremely well executed with great theatrical flair and the dancing is also delightful. It’s in the group work that we see what added value can arise from a company that has been together for nearly three years (rare indeed in professional theatre these days).

Worth a special mention is the ingenious way Friar Lawrence fails to get the message through to Romeo, that Juliet has faked her suicide – hence the tragic ending, played here with but a split second between his taking poison and her waking.

The authentically designed Commedia masks (no credit offered in the programme) are somewhat compromised by high-angled lighting which often leave the deep-set eyes in shadow. That said, we know a mask show is working when it is a shock to see the real faces beneath the convincing characters, as they peel off to offer the epilogue.

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