ROMEO AND JULIET
Wilton’s Music Hall
★★★
“Flabbergast has clearly invested considerable time in the development and interpretation of this work”
As the audience enters the auditorium, Flabbergast Theatre’s seven strong ensemble is already on stage. Costumed (Henry Maynard) fundamentally in white underwear and black Doc Marten boots, their bodies show fresh red wounds. With white faces, mummy and zombie-like in appearance, the spectres fall to the ground, only to rise again, writhe and twirl in slow motion balletic forms before collapsing (movement direction Matej Matejka). Repeated over and over again the effect is mesmerizing and we know this will be no ordinary Shakespearean production.
A simple set is dominated by a vast scaffolding tower with Juliet’s bedroom, naturally, at the very top giving Romeo plenty of scope for climbing. Every inch of the Wilton’s excellent performance space – wide, deep and on multiple levels – is utilised in Henry Maynard’s impressive direction. There is beautiful and effective lighting throughout (Rachel Shipp). A pervading rich blue wash creates the dreamworld in which the action exists. But the darkness is transformed during Juliet’s lonely soliloquy into a magical luscious yellow.
Effective too is the sparing use of music (Nick Hart). English folk melody, world music, ecclesiastical chant and, in the case of the Capulet’s party, techno rave are all infused into the action to create a production that revels in its otherness.
The play begins in earnest with the choral prologue and from there things begin to falter. Each spectre speaks for themselves, the chorus is not in sync and the text is muddied. Sadly, this is to be a recurring problem throughout this performance.
Whilst fundamentally an ensemble piece, first amongst equals is Lennie Longworth (Juliet) who is a ray of sunshine. Bringing a youthful vitality to her role that at times we can believe that the young lover really is just a teenager, her ‘wherefore art thou’ plea is earnest and touching. Sadly not matched by her Romeo (Kyll Thomas-Cole) whose writhing, circling and throwing himself to the ground is given more weight than a clear and meaningful delivery of the text.
Vyte Garriga as the Nurse in a large, hooped skirt plays things perilously close to pantomime dame. The clowning skills of Simon Gleave (Mercutio) and Nadav Burstein (Tybalt) are excellent but at the cost of individual character. Daniel Chrisostomou gives a commanding performance as Friar Lawrence and whose comedic monosyllabic Peter brings out the laughs. Henry Maynard allows himself a sense of fun as Benvolio but seems less comfortable in the domineering role of Lord Capulet. All of the cast, however, perhaps with the exceptions of Lennie Longworth and, conversely, the clown behind the mask of Paris are generally unclear in their enunciation and expression.
Flabbergast has clearly invested considerable time in the development and interpretation of this work and Henry Maynard has a clear vision of how he wants dramatic theatre to be made. But when all the outside influences so dominate that some scenes are unintelligible, what is Shakespeare if we can’t hear the poetry?
This is a five-star production in its concept, movement and ensemble but ultimately let down by its two-star textual delivery.
ROMEO AND JULIET
Wilton’s Music Hall
Reviewed on 11th June 2025
by Phillip Money
Photography by Michael Lynch
Previously reviewed at this venue:
MARY AND THE HYENAS | ★★★ | March 2025
THE MAGIC FLUTE | ★★★★ | February 2025
POTTED PANTO | ★★★★★ | December 2024
THE PIRATES OF PENZANCE | ★★★★ | October 2024
THE GIANT KILLERS | ★★★★ | June 2024
A MIDSUMMER NIGHT’S DREAM | ★★★★★ | April 2024
POTTED PANTO | ★★★★★ | December 2023
FEAST | ★★★½ | September 2023
I WISH MY LIFE WERE LIKE A MUSICAL | ★★★★★ | August 2023
EXPRESS G&S | ★★★★ | August 2023
