Review: Romeo and Juliet (Greenwich Theatre)
- Sam - Admin
- 45 minutes ago
- 4 min read
Review by Phil McCullough
⭐️⭐️
Modern adaptations of Shakespeare are at their best when they are daring, bold and willing to reinvent the play. If you leave the theatre having discovered new meaning in the text or viewing familiar characters from a fresh perspective, then you know you've seen something special. This production of Romeo & Juliet promises a queer musical reimagining of the Bard's classic, but does it really bring a new perspective to the greatest love story ever told?
Romeo & Juliet tells the story of two ill-fated lovers from opposing houses in Verona. After secretly marrying, a chain of events unfolds that cement their place as one of literature's most tragic couples. Written by William Shakespeare in 1595, the play has endured and been reinterpreted for more than four centuries. This new production at Greenwich Theatre views Verona through a queer lens, casting both Romeo and Juliet as female-presenting characters and changing Romeo's pronouns to she and her.
Unfortunately, the concept sounds far bolder on paper than it feels in execution. Aside from the gender switch and the addition of folk music throughout, there is little else in James Haddrell's production that truly reinvents the play. Much of the staging feels surprisingly traditional and relies heavily on the cast to bring the text to life. With a company of just six actors playing multiple roles, this occasionally becomes problematic. I know Romeo & Juliet extremely well, but I suspect audience members less familiar with the play could easily lose track of who was playing whom at certain points. Minimal costume changes and similar characterisations do little to help distinguish between roles.
Folk music is an inspired addition and gives the production much of its heart. The cast perform as an ensemble throughout, and the music works particularly well during the wedding scene when Romeo and Juliet share a brief duet. Musical Director James Aldred creates an emotive backdrop that elevates several key moments. However, when Romeo and Juliet first meet and love strikes, the absence of music feels like a missed opportunity. If ever there was a moment crying out for a musical flourish, it is surely that one. The staging of their first encounter also felt oddly directed. Romeo spends much of the iconic "two blushing pilgrims" exchange with their back to the majority of the audience. The focus therefore falls almost entirely on Juliet's reactions. Whether intentional or not, it weakens one of the play's most important scenes.
Overall, James Haddrell's direction feels functional rather than inspired. There are moments where simple staging choices actively work against the drama. When Juliet's apparently lifeless body is discovered by the Nurse and Lady Capulet, much of their reaction is obscured by a large duvet positioned on the bed. From my seat in the centre of the auditorium, one of the most emotionally significant moments in the play became frustratingly difficult to read. The set itself is simple and effective enough, but it also contributes to the production's sense of playing things safe. Even a few additional visual touches could have helped differentiate locations and strengthen the storytelling. Something as simple as a cross during the Friar scenes would have helped create a stronger sense of place.
Blossom Timothy delivers a solid performance as Romeo and the gender change works perfectly well within the romantic framework of the story. Ava Honey is likeable and relatable as Juliet, and the pair share good chemistry throughout much of the production. However, they are ultimately let down by the handling of their first meeting. When you think of how effectively Baz Luhrmann used "Kissing You" during the lovers' first encounter in Romeo + Juliet, it is difficult not to feel that this production misses an opportunity to create its own memorable musical moment.
Nikita Jahal is vibrant and entertaining as the feral party queen Mercutio, bringing much-needed energy and charisma to the stage. However, the standout performance comes from Matt Penson as Lord Capulet. The production finally discovers a genuine sense of danger when Capulet threatens to disown Juliet unless she marries Paris. It is the first moment where the stakes truly feel real, and it injects much-needed jeopardy into the second half. Penson’s performance is powerful, intimidating and genuinely chilling.
Overall, I felt this production lacked the originality and bite its central concept promised. There was far more that could have been explored through a queer reimagining of Romeo and Juliet. Instead, the casting choice often feels incidental rather than transformative. Folk music is a strong idea and one that could have been developed even further. Ultimately, this production never gave me a fresh perspective on Shakespeare's classic nor did it reveal anything new within the text. What remains is a fairly traditional Romeo and Juliet elevated by some thoughtful musical choices and a handful of good performances.
Romeo & Juliet runs until July 25th at Greenwich Theatre. Tickets are available from:
Photos by Ross Kernahan