Tag Archives: Shakespeare

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

MUCH ADO ABOUT NOTHING

★★★½

Royal Shakespeare Theatre

MUCH ADO ABOUT NOTHING

Royal Shakespeare Theatre

★★★½

“a refreshingly funny and modern production”

Much Ado About Nothing is generally considered one of Shakespeare’s best comedies, because it combines elements of robust hilarity with more serious meditations on honour, shame and court politics. In this fun production at the Royal Shakespeare Theatre under the skilful direction of Michael Longhurst (former Artistic Director of the Donmar Warehouse and his RSC directing debut) we see the scandal and glamour of international football as a backdrop to this popular rom-com play, exploring the culture of lads, wags and misogyny.

Messina FC has just won the European Cup for the first time and as we enter the auditorium, Jon Bausor’s cleverly designed thrust stage and 3D football stadium immediately immerses us into the world of social media, sponsorship and branding. Team manager Don Pedro (Olivier Huband), along with his captain, Benedick (yes one of a few amusing changes to the original) and their new star player Claudio (Daniel Adeosun making his RSC debut) are invited to take some well-deserved R&R at a villa belonging to Leonato, (an excellent Peter Forbes) owner of their team and his wife Antonia (a feisty Tanya Franks).

Claudio immediately falls in love with their daughter Hero, and everything is set for the wedding of the year. Beatrice – a sports broadcaster – and Benedick both claim to despise the whole notion of love and marriage, but the others plot to make them fall in love. However, Don John, the manager’s brother has a more malicious plot in mind. He tricks Claudio into believing he saw Hero in a compromising situation on the night before their wedding…

For many, the football stadium is still seen as a male space, so misogyny is set up right from the start. The clever use of interactive social media and the ‘deep fake’ pictures of Hero (Eleanor Worthington-Cox, who has a cracking singing voice) would provoke a modern and relatable sense of anger at her betrayal. This was a fascinating and exciting idea and I was eager to see how it would pan out, but even though there were some clever adjustments to the text and some very funny scenes – especially Leonato’s video call – I felt slightly disappointed at the end of the first act. It felt like the dramatic content had been compromised by its own concept. It was hard to believe that Hero was really that innocent, which meant her cancel culture didn’t have as much emotional weight, especially as she and Claudio seemed to provide the main impetus for the plot out of the two romantic couples, whilst Benedick and Beatrice were the foil and dramatic sub plot. However, the play gathered momentum when Benedick (an exceptional Nick Blood) thoroughly amused us with his slapstick humour, whilst maintaining an endearing vulnerability as he was being tricked by his team mates into falling in love with Beatrice (Freema Agyeman).

It seemed like a play of two halves with the second act being far more relatable, zipping along in its contemporary setting like a well oiled machine. Beatrice’s emotional declaration of love for Benedick was quite heart stopping, before she countered the mood with her witty delivery. One of the highlights of this enjoyable production was the hilarious head of security Dogberry (Antonio Margo) whose comic timing and malapropisms were a masterclass in comedy.

This is a refreshingly funny and modern production of Much Ado About Nothing and worthy of being in the premier league.



MUCH ADO ABOUT NOTHING

Royal Shakespeare Theatre

Reviewed on 22nd April 2025

by Sarah Milton

Photography by Marc Brenner

 

 


 

 

 

More ‘Much Ado About Nothing’ reviews:

MUCH ADO ABOUT NOTHING | ★★★★ | THE RED LION | September 2024
MUCH ADO ABOUT NOTHING | ★★★★ | WATERMILL THEATRE NEWBURY | April 2024
SH!T-FACED SHAKESPEARE®: MUCH ADO ABOUT NOTHING | ★★★★★ | LEICESTER SQUARE THEATRE | July 2023
MUCH ADO ABOUT NOTHING | ★★★★ | DUKE OF YORK’S THEATRE | February 2023
MUCH ADO ABOUT NOTHING | ★★★ | JACK STUDIO THEATRE | August 2022

MUCH ADO ABOUT NOTHING

MUCH ADO ABOUT NOTHING

MUCH ADO ABOUT NOTHING