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 reality, Jamie Lloyd’s daring, funereal production, which opened in the West End last night, only requires him 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, this means an avalanche of 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 microphones in the capital for a production that is whispered – and sometimes simply breathed – into the PA system.
The sun of beautiful Verona, where Shakespeare set his work, is now gone.
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).
The play focuses on death, and Lloyd makes the most of that concern, with a cast dressed in jeans, T-shirts, and black sweatshirts. It is drab, monochromatic and mannered. If you take the pulse of the production, you might be tempted to call in 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 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 save for lighting rigs and a giant cinema poster broadcasting close-ups of the action as cameramen follow the actors on stage and around the building itself (Romeo’s banishment to Mantua takes him to the rooftop).
It’s drab, 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 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 while he is best at being still, the shy smiles he spreads toward his beloved are, in Hollywood terms, worth a million dollars. In these circumstances, Francesca Amewudah-Rivers holds up well as Juliet.
Lloyd discourages her from showing too much personality or independent spirit (as he does everyone), but she has a quiet maturity that fits easily with poetry.
Similarly, Michael Balogun, as Friar Laurence, imposes seriousness and common sense on the young lovers, who are not so reckless. The only surprise is Freema Agyeman, as Juliet’s young nurse.
Normally corpulent, aging and talkative, Nurse here is a thirty-something party girl with character. Much of her jabbering in the original The Bard is removed, and in her place are lines from Juliet’s mother, who is controversially discarded 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. How happy are those who already have a ticket for this curious, 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 nurse
