Tag Archives: Bristol Old Vic

ROMEO AND JULIET

★★★★★

Hackney Empire

ROMEO AND JULIET

Hackney Empire

★★★★★

“thrilling, raw, moving, and completely unforgettable”

If Shakespeare were here today, he’d be proud – perhaps even moved – to see his timeless tragedy reimagined in such a vibrant, daring, and emotionally charged way. This co-production between Hackney Empire, Belgrade Theatre and Bristol Old Vic, directed by the talented Corey Campbell, brings Romeo and Juliet into a new era while preserving every beat of its emotional core.

From the moment the lights dim, it’s clear this isn’t just another retelling. The production is bold, fresh, and utterly magnetic – a true celebration of youthful energy and artistic innovation. The language has been masterfully reworked, blending Shakespeare’s original lines with powerful additions of rap, R&B, and contemporary rhythms. It’s not just modernised – it’s recharged.

Leading the cast are the outstanding Kyle Ndukuba as Romeo and Mia Khan as Juliet. Despite their young age, both performers bring a striking level of depth, charisma, and authenticity to their roles. Their chemistry is electric, their performances emotionally resonant, and their command of both classical and modern language is simply superb. They are, without a doubt, rising stars to watch.

But it doesn’t stop there. This production is blessed with an exceptional ensemble, each member leaving their mark on the stage. Dillon Scott-Lewis, in the role of Mercutio and ensemble, is a standout. He fuses dance, rap, and acting into a single, seamless performance that demands attention. Andre Antonio in the role of Benvolio also brings incredible energy, captivating the audience from the very beginning with charisma and presence that lights up every scene he’s in.

A particularly memorable performance comes from Lauren Moakes as Lady Capulet and Ensemble. Her presence on stage is powerful and versatile – seamlessly blending acting, singing, and dance. She brings emotional depth to her role, with vocals that resonate and movement that enhances the intensity of each scene.

Set against a contemporary backdrop (set and costume design by Simon Kenny), this Romeo and Juliet becomes not only a love story but a commentary on modern life, youth, community, and division. The story of the star-crossed lovers is no less heartbreaking, but it feels more urgent and relevant than ever.

The live music is another key player in this production’s success. The band – Elijah Aduu (ERA) on guitar, Mark Holder on drums, D’evante Seepaul-Craig on keyboard, Chris Jones on bass, Aaron Blake (Keys 1), and Samuel Cummins (Keys 2) – delivers a phenomenal soundtrack that pulses through the performance. Their music does more than support the actors – it lifts, drives, and elevates the emotional journey of the play. It’s the kind of soundtrack you’ll wish was available on Spotify the moment the curtain falls.

This Romeo and Juliet is not just a performance – it’s an experience. It’s an extraordinary fusion of classic literature and contemporary culture, brought to life by a fiercely talented cast and creative team. It’s thrilling, raw, moving, and completely unforgettable.

Whether you’re a lifelong Shakespeare fan or discovering the story for the first time, this production is a must-see. Bold in vision and rich in execution, it’s a beautiful reminder that great stories never die, they simply evolve.



ROMEO AND JULIET

Hackney Empire

Reviewed on 24th April 2025

by Beatrice Morandi

Photography by Nicola Young

 

 


 

 

 

Previously reviewed at this venue:

DICK WHITTINGTON AND HIS CAT | ★★★★ | December 2024
ALADDIN | ★★★★ | November 2023

 

 

ROMEO AND JULIET

ROMEO AND JULIET

ROMEO AND JULIET

PLAY ON!

★★★★★

Lyric Hammersmith

PLAY ON!

Lyric Hammersmith

★★★★★

“The unique quality of this musical is that each number comes with its own ever-increasing ‘wow factor’.”

The atmosphere in the bar is electric. The only thing missing is the fog of cigarette smoke, otherwise we’ve walked into an old brownstone building on the corner of 52nd Street. It is the early 1940s. Was that Charlie Parker over there by the bar? I’m sure I just saw Dizzy Gillespie. Through the crowds clutching their Daiquiris and Manhattans, I think I can hear Duke Ellington strike a few opening chords on the grand piano. But then the chime of the intercom – with its five-minute call – brings us back into the twenty-first century, as we file into the auditorium for Sheldon Epps’ musical “Play On!”

The title comes from the Duke’s famous opening line from “Twelfth Night” on which this musical is based. Epps’ concept, with the book by Cheryl L. West, takes brazen liberties with Shakespeare while still convincing us of its faithfulness. The result is a revelation – as we are transported from Illyria to the Cotton Club in Harlem in nineteen-forty-something. The music of Duke Ellington slots into the narrative as though he were commissioned to write the songs specifically for this show. This is hardcore jazz, steeped in tradition, but sharing the stage with its modern sister ‘hip-hop’ thanks to the stunning choreography of Kenrick H2O Sandy MBE.

The opening routine sets the tone – a burst of precision and emotion, the ensemble moving as one, led by Llewellyn Jamal. Breaking free from the song and from his magnetic dance moves, Jamal coaxes us into the action, playing Jester – a chancing, two-timing yet loveable rogue. Into the club wanders his niece, Viola (Tsemaye Bob-Egbe), an aspiring songwriter looking to make it big in the Big Apple, and hoping to join the ranks of the club’s band leader ‘Duke’. She hasn’t bargained for the reception she receives though. “Ain’t no woman can do songwriting” her uncle Jester tells her. To be taken seriously she dresses as a man and becomes Vyman. Meanwhile ‘Duke’ (Earl Gregory) is suffering from writer’s block, unable to complete his melodies. With his Mojo gone, so too has the affections of Lady Liv (KoKo Alexandra) the nightclub’s diva. Vyman is tasked with trying to put things right and, with the help and hindrance of Rev (Cameron Bernard Jones), Miss Mary (Tanya Edwards) and Sweets (Lifford Shillingford) we embark on a very Shakespearean comedy of errors. With all that jazz.

The unique quality of this musical is that each number comes with its own ever-increasing ‘wow factor’. And each performer matches the demands of the material with equal virtuosity. Gregory’s plaintive ‘I Let a Song Go Out of My Heart’ is followed by Alexandra’s ‘Mood Indigo’ (what an entrance Alexandra makes!). Bob-Egbe’s ‘Don’t Get Around Much Anymore’ rightly betrays the fact that she does get around a lot on the musical theatre scene. Smoky, bluesy ballads interlock with Bebop, big band syncopation. ‘It Don’t Mean a Thing If It Ain’t Got That Swing’, but “Play On!” swings over the edge, and we cling on in ecstasy as it sways to the rhythm. An infectious and irresistible rhythm courtesy of the onstage five-piece band, led by musical director Ashton Moore at the grand piano.

Each number is a highlight – the solos, duets, quartets and more. Jamal and Shillingford deliver a brilliantly hilarious ‘Rocks in My Bed’ while the first act closes with a rousing ‘Solitude’, each singer overlapping before coming together into a rousing, show-stopping ensemble. The vocal dexterity is matched by their handling of West’s text. Bob-Egbe’s fluidity and Jamal’s flexibility are a master class in acting and timing, while Gregory’s cool smoky tones evoke the period with echoes of a young Leslie ‘Hutch’ Hutchinson in his Harlem days.

The ending of the story plays fast and loose with the original plot. Rev, who represents Malvolio, has a very different fate. The reconciliations are not wholly expected by those familiar with Shakespeare’s text. In fact, in some ways, this has a more satisfactory conclusion. The feelgood factor is one that the Bard may not have sanctioned, but we endorse it, and love it. And we leave the auditorium with more than a dance in our step. “If music be the food of love, play on… Give me excess of it”. That sums it up really.



PLAY ON!

Lyric Hammersmith

Reviewed on 31st January 2025

by Jonathan Evans

Photography by Ellie Kurttz

 

 

 

 

 

 

Previously reviewed at this venue:

OTHELLO | ★★★★ | January 2023

PLAY ON!

PLAY ON!

PLAY ON!