In potentially a theatrical first, this brand new filmed production of Romeo and Juliet breaks through the barrier of what’s possible and what’s not, blurring the lines of theatre and film. At a time when live theatre is not possible, you would be forgiven for thinking that this one of many adaptations of Shakespeare’s tragedy had been filmed at a time when Covid-19 did not exist. However, it is the strength of the cutting edge technology used that tricks the audience into believing this, through clever use of CGI design, superb direction by Nick Evans and expert editing by Ryan Metcalfe.

It is almost inconceivable upon watching the production that this 16-strong cast almost entirely shot their scenes individually against a green screen and it was only in the editing process that their performances were pieced together into multi-populated shots. Whilst it is often evident that it’s not a literal set, its effectiveness and filmic quality sweeps you along with the action.

Production designer Jamie Osborne has transported us from “fair Verona” to a glorious theatrical setting, all the more poignant in current times. Whilst seemingly far-fetched on paper, it works, particularly when taking inspiration from different areas of a theatre: the auditorium itself, dressing rooms, the theatre bar and scene dock to name a few. Osborne’s background in architecture would have definitely helped in creating this world that we are so craving at the moment.

Elliot Smith’s lighting, particularly in the more expansive auditorium scenes, is striking and adds to the overall vision of the piece. Also in the Friar’s ‘chamber’, the light streaming through the side windows and embracing Juliet’s silhouette is a long lasting image. 

From the opening shot sweeping down the auditorium and the short projected montage of the Covid fight onto the plush red theatre seats, it grips you. This is then followed by one of the best Shakespearean actors of our time, Sir Derek Jacobi, relaying the iconic prologue and setting the scene for the two and a half hours ahead.  This, however, is where the ‘classic’ ends.

Natasha Bowles’ up-to-date costume design, the use of modern technology such as mobile phones, email, even an Amazon Echo, along with approximately half of the cast making their professional debuts in this groundbreaking piece, makes this a Romeo and Juliet for the modern age.

Sam Tutty is an excellent Romeo. He gives a well-balanced performance, equally strong playing the sensitive side for Juliet versus the angry, surrounding Mercutio’s death, his banishment and ultimately upon finding out that Juliet has ‘died’. He has an entirely believable connection with Emily Redpath as Juliet who grows into her character as the play progresses. Although certain lines could be delivered from a deeper place, she has a natural and subtle take on the role, which is incredibly endearing.

Their first meeting at the ball is a beautiful moment, although the vast setting did make it feel less intimate than it could have been. After consummating the marriage though, the inclusion of Spandau Ballet’s Through The Barricades is oddly fitting and is a very connected moment for the two actors and the audience watching.

Sam Dinley’s composition takes us on a deeper emotional journey and is one of the leading factors in this production’s success; knowing when to be silent and when something should be underscored is a great skill, one which he expertly executes. Also Olly Steel’s sound design, complete with well-thought out soundscapes, makes the occasionally surreal setting into a real and totally plausible one.

Titular characters aside, there are many notable performances including Brandon Bassir’s impassioned and energetic performance as Mercutio, Lucy Tregear’s natural comedic timing and easy compassion as the Nurse, the quiet understated authority of the Friar played by Vinta Morgan and Helen Anker’s Capulet with her passionate speech rejecting Juliet following her dismissal of marrying Paris.

The safety curtain being lowered at the end of this innovative production marks only the start of a new theatrical genre, with this version of Romeo and Juliet paving the way.

**** Four stars

Reviewed by: Jenny Ell 

Romeo & Juliet will be available to stream from 13-27 February, with tickets available here.