Romeo and Juliet at Shakespeare’s Globe
In such sombre and troubled times as we live in, tragedy could feel like just another heavy weight. With its Wild West setting and the entertaining performances from part of the cast, Sean Holmes directs a Romeo and Juliet that leans more towards comedy, rather than the original genre the Bard intended. In doing so, some of the most unassuming scenes become thoroughly enjoyable, even drawing attention as rarely happens with these sequences, and gaining appeal for younger audiences unfamiliar with or reluctant towards the thespian form. However, the production loses depth, with the foundational acts that made this a timeless work – a tragedy, indeed – slipping away.
Romeo Montague (Rawaed Asde) confesses to his cousin Benvolio (Roman Asde) that he is in love with a lady who ignores him. In an attempt to see her, together they will try to attend, in disguise, the banquet hosted by the Capulets, the Montagues’ fierce enemies. It’s here that Romeo dances with Juliet Capulet (Lola Shalam), and the two fall desperately in love with each other. They decide to marry in secret, knowing their union won’t find approval, if not even be condemned, by their parents. But a fight, two killings and Romeo’s banishment from Verona soon add to the lovers’ trials.
The audience standing in the yard becomes an integral part of the play, as moving platforms are brought forward, actors interact with the first rows and jump off the stage. Michael Elcock’s physical control and modulated voice in his interactions display a level of mastery so adept to uplift sequences otherwise too dialogue-focused. The backdrop evokes an American saloon, but beyond that and the period costumes, the Old West setting has no further influence, leaving us wondering whether it was meant to have a real impact.
The movements are well-choreographed, from the merry dances to the triangular disputes among the characters. Grant Olding’s original music is a welcome presence, sometimes prominent (with the musicians’ appearance from the second-floor window, the banjo and the harmonica leading the score), and sometimes more subtle, with the tuba and the clarinet quietly accompanying wordless moments.
The two lovers of Verona were scripted by Shakespeare as premature in action, following their hearts’ desires and, yes, making impulsive choices, but also highlighting the absurdity and the absurd consequences of family feuds. This new production doesn’t overly elevate their role, rather relying on characters such as the Nurse (Jamie-Rose Monk) to drive a comedic tone that wasn’t there before, resulting in a more digestible and cheery rendition.
Cristiana Ferrauti
Photo: Tristram Kenton
Romeo and Juliet is at Shakespeare’s Globe from 25th April until 2nd August 2025. For further information or to book, visit the theatre’s website here.
Watch the trailer for Romeo and Juliet at Shakespeare’s Globe here:
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