Spider-Man Tom Holland was never going to have much difficulty scaling the walls of the Capulet 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 only blown into the amplification system.
As usual, this means a run of microphones across the capital for a production that is whispered and sometimes only blown into the amplification system.
The sun of beautiful Verona, where Shakespeare set his work, is now gone.
Instead, we have the Stygian darkness of Soutra Gilmour’s scenic design, empty save for lighting rigs and a giant cinematic hoarding that broadcasts close-ups of the action while cameramen follow the actors onstage and around the building itself (Romeo’s banishment to Mantua takes him to the roof).
The play is all about death, and Lloyd makes the most of that preoccupation, with a cast dressed in jeans, T-shirts and black hoodies. It is drab, monochromatic and mannered. If you take the pulse of the production, you might be tempted to call a priest.
At times, it seems as if Lloyd is deliberately trying to strangle the feverish passion that usually drives this headlong love story. And yet, come the time, along comes Spider-Man… all 5’8″ tall.
Damn, he’s one hot, muscular guy. His imposing cheekbones and curved jaw take the audience’s breath away and keep us wrapped up in his dreamy gaze.
Instead, we have the Stygian darkness of Soutra Gilmour’s scenic design, empty save for lighting rigs and a giant cinematic hoarding that broadcasts close-ups of the action while cameramen follow the actors onstage and around the building itself (Romeo’s banishment to Mantua takes him to the roof).
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 seems as if Lloyd is deliberately trying to strangle the feverish passion that usually drives this headlong love story. Pictured: Daniel Quinn-Toye plays Paris
Nima Taleghani (pictured) plays Benvolio
I missed the colour of the masked 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 his stillness is what he does best, the shy smiles he spreads toward his beloved are worth, in Hollywood terms, a million dollars. In these circumstances, Francesca Amewudah-Rivers holds up well as Juliet.
Lloyd advises her not to show too much personality or independent spirit (as he does with everyone), but she has a quiet maturity that fits perfectly 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 generous, aging and talkative, Nurse is here a party-going thirtysomething with character. Much of her chatter in the Bard’s original is removed and instead features lines from Juliet’s mother, who is controversially dropped altogether.
I missed the colour of the masked 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, so happy are those who already have a ticket for this curious but nearly sold-out requiem. And even happier are those who can afford to shell out £275 a ticket.
Pictured: Tom Holland as Romeo
Freema Agyeman (pictured) plays a nurse
