20 July 2024 I 14:30 I Duke Of York's Theatre, London
⭐⭐⭐⭐
Jamie Lloyd's triumphant return to the West End sustains a challenge on traditional theatre conventions, tackling Shakespeare's Romeo & Juliet in a frightening, unsettled tone. His directorial vision goes beyond the expected, amplifying every action to envelop the audience in multisensory atmospheres. Commonly compared to Lloyd's Sunset Boulevard, the productions are stylistically similar, although Romeo & Juliet cradles language so crucially, the jeopardy that any single word could be devastating.
This adaptation features a minimalist approach from Soutra Gilmour's aesthetics, often refusing to engage with physical contact where action is directed toward the audience. Under Ben and Max Ringham's sound design, text delivered through microphones is clever, sometimes threateningly loud with menace, other times straining to hear under whispers. But this effect drives plosive and fricative vocal qualities, pushing the texture of voice in a really vigorous motion. Even ahead of the show inside the auditorium, a grungy, booming playlist sounds over our chatter, a prerequisite for the violent tempers present in Verona.
Nathan Amzi and Joe Ransom lead enticing cinematography skills with a stage-wide live video screen, enhancing dislocation as an important Shakespearian device, a divided Verona. Venturing beyond the stage, upon the rooftop of the theatre, in the foyer and through backstage alleyways, secret conversations and malicious plottings feel distant, Capulet's character defined by lurking in shadow.
Tom Holland and Francesca Amewudah-Rivers produce a compelling relationship through the titular lovers. Holland's Romeo adds another breadth of talent among his impressive legacy, justified with an immense stage presence that expertly tackles the bounds of excitement and grief. Seated front-stalls, there are infrequent moments to share eye contact during final scenes, his heartbreak crushing through genuine tears. An honest fragility only few performers can achieve.
Rivers is a tremendously likeable Juliet, gifting her solo performances a delightful enthusiasm. Her role isn't overshadowed by Holland's name, confidently honouring the text as her naïve, lovestruck attitude is divinely inspired. Every ounce of adoration is believable under her passionate performance.
Freema Agyeman's Nurse has the audience in the palm of her hands, showcasing immense depth with flirtatious, mischievous and protective qualities. Her understanding of Shakespeare's language is remarkable, every single nuance allowing the writing to be accessible for everyone. Bleak and harsh energies become uplifted through Agyeman's role. Antagonising the production as Capulet, Tomiwa Edun is unnerving, building the tension with commanding motive. The trope of a modern villain is recognisable through this classic text.
Stylistically, Romeo & Juliet is mesmerising in what it can achieve. However, my reasoning for a four star review is due to a dissolved pacing in final moments, among the tragic deaths. It is understood that the ending image of a production is what audiences will remember, though Lloyd's vision suffers from an anticlimactic resolution. I admire the removal of microphones as a loss of life, though emotionally the situation is devoid of empathy, pure silence swallowing the chance to mourn.
Violence isn't always graphically visible, with Jon Clark's blackout/snap lighting design placing all performers in the vulnerable shock of the aftermath. Romeo & Juliet is gripping, edge of your seat theatre which sees Jamie Lloyd soaring into West End popularity. Initially concerned in regards to a 'stunt casting', this adaptation is unlike any form of Shakespeare you will ever see. I know it will stay in my memory for many years to come, a true testament to the Jamie Lloyd Company.
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