Spider-Man Tom Holland was never going to have much difficulty scaling the walls of the Capulets’ villa in Verona to reach Juliet’s balcony in Shakespeare’s love story.
But in the end, Jamie Lloyd’s daring production, which opened last night in the West End, only requires you to reach the dizzying heights of a microphone stand.
Yes, this new production of Romeo and Juliet is a typical example of Lloyd’s celebrity minimalism, following in the footsteps of James McAvoy in Cyrano and Nicole Scherzinger in Sunset Boulevard.
As usual, that means a race with microphones in the capital for a production that is whispered (and sometimes simply breathed) into the amplification system.
As usual, that means a race for the microphones in the capital for a production that is whispered and sometimes simply breathed into the amplification system.
The sun of beautiful Verona was left behind, where Shakespeare sets his scene.
Instead, we have the stygian darkness of Soutra Gilmour’s scenic design: empty except for lighting rigs and a giant movie poster broadcasting close-ups of the action while cameramen follow the actors on stage and around the building itself (the Romeo’s banishment to Mantua takes him to the roof).
The play focuses on death and Lloyd makes the most of that, with a cast dressed in black jeans, T-shirts and hoodies. He is drab, monochromatic and mannered. If you took 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 headlong love story. And yet, come the hour, come the man (Spider)… all 5 foot 8 inches of him.
Damn, he’s a muscular, handsome guy. His towering cheekbones and curved jaw take the audience’s breath away and keep us wrapped in his dreamy gaze.
Instead, we see the stygian darkness of Soutra Gilmour’s scenic design, empty except for lighting rigs and a giant movie poster broadcasting close-ups of the action as cameramen follow the actors on stage and around the building itself (the Romeo’s banishment to Mantua takes him to the roof)
It is drab, monochromatic and mannered. If you took 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 headlong love story. Pictured: Daniel Quinn-Toye plays Paris
Nima Taleghani (pictured) plays Benvolio
I missed the color of the masquerade ball where Romeo and Juliet meet, and the drama of the sword fight when Romeo calamitously kills Juliet’s cousin Tybalt.
After meeting Juliet, he does a dance like a footballer celebrating a goal, but otherwise moves with the precision of a cat. And although what he knows best is quiet, the shy smiles he spreads to his beloved are worth, in Hollywood terms, a million dollars. Under the circumstances, Francesca Amewudah-Rivers holds up well as Juliet.
Lloyd discourages her from showing too much personality or independent spirit (as he does with everyone), but she has a quiet maturity that fits easily with the poetry.
Likewise, Michael Balogun as Friar Lawrence imposes seriousness and good sense on the not-so-reckless young lovers. The only surprise is Freema Agyeman as Juliet’s young nurse.
Normally broad, aged and talkative, Nurse here is a thirtysomething party girl with attitude. Much of her wit in the Bard’s original is cut and, in her place, she receives lines from Juliet’s mother, who is controversially abandoned entirely.
I missed the color of the masquerade ball where Romeo and Juliet meet, and the drama of the sword fight when Romeo calamitously kills Juliet’s cousin Tybalt.
But we may not get the chance to see Holland live on stage again if Hollywood has its way; Those who already have a ticket for this curious requiem are so happy, but with tickets almost sold out. And even happier are those who can afford £275 each.
Pictured: Tom Holland as Romeo.
Freema Agyeman (pictured) plays the nurse