Spider-Man Tom Holland would have had no trouble scaling the walls of the Capulet villa in Verona and reaching Juliet’s balcony in Shakespeare’s love story.
But ultimately, Jamie Lloyd’s audacious, mournful production, which opened last night in the West End, requires only that he stand at the dizzying height of a microphone stand.
Yes, this new production of Romeo & Juliet is a classic example of Lloyd’s celebrity minimalism, following in the footsteps of James McAvoy in Cyrano and Nicole Scherzinger in Sunset Boulevard.
As usual, this means a run on the microphones in the capital for a production that is whispered – and sometimes just blown – into the amplifier system.
As usual, that means a run on the microphones in the capital for a production that is whispered – and sometimes just blown – into the amplification system
The sunshine of beautiful Verona, where Shakespeare sets his scene, has disappeared.
Instead, we get the Stygian darkness of Soutra Gilmour’s stage design: empty except for lighting rigs and a giant cinematic billboard showing close-ups of the action, while cameramen follow the actors onstage and around the building (Romeo’s banishment to Mantua takes him to the roof).
The play is famous for its preoccupation with death, and Lloyd makes the most of it, with a cast dressed in black jeans, T-shirts and hoodies. It’s monotone, monochromatic and mannered. If you could feel the pulse of the production, you might be tempted to call a priest.
At times it even feels as if Lloyd is deliberately trying to strangle the life out of the feverish passion that normally drives this breakneck love story. And yet, the hour comes, the (Spider)man… already 5’8″.
Damn, he’s a muscular and handsome guy. His impressive cheekbones and crooked jaw suck the breath out of the audience and keep us captivated in his dreamy gaze.
Instead, we get the Stygian darkness of Soutra Gilmour’s stage design – empty except for lighting rigs and a giant cinematic billboard that shows close-ups of the action as cameramen follow the actors onstage and around the building itself (Romeo’s banishment to Mantua takes him to the roof).
It’s monotone, monochromatic and mannered. If you were to take the pulse of the production, you might be tempted to call a priest
At times, it even feels as if Lloyd is deliberately trying to strangle the life out of the feverish passion that normally drives this breakneck love story. Pictured: Daniel Quinn-Toye stars as Paris
Nima Taleghani (pictured) plays the role of Benvolio
I missed the color of the masked ball where Romeo and Juliet meet, and the drama of the sword fight when Romeo disastrously kills Juliet’s cousin Tybalt
After meeting Juliet, he does a little dance like a soccer player celebrating a goal, but otherwise moves with the precision of a cat. And while he’s best kept quiet, the shy smiles he showers on his beloved are worth a million dollars—in Hollywood terms. Under the circumstances, Francesca Amewudah-Rivers holds her own as Juliet.
Lloyd discourages her from showing too much personality or independent spirit (as he does with everyone else), but she has a quiet maturity that goes well with the poetry.
Likewise, Michael Balogun as Friar Lawrence imposes seriousness and common sense on the not-so-hasty young lovers. The only surprise is Freema Agyeman as Juliet’s youthful nurse.
Nurse is normally a thirty-something, party girl with attitude. Much of her banter in the Bard’s original is cut, and instead she is given lines by Juliet’s mother, who has been controversially dumped altogether.
I missed the colors of the masked ball where Romeo and Juliet meet, and the drama of the sword fight where Romeo disastrously kills Juliet’s cousin Tybalt.
But we may not get another chance to see Holland live on stage if Hollywood has its way – so happy are those who already have a ticket for this remarkable but almost sold-out requiem. And even happier are those who can afford £275 each
Pictured: Tom Holland as Romeo
Freema Agyeman (pictured) plays the role of a nurse