★★★★★

“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.

THE UNSEEN at the Riverside Studios

★★★★

“Wright’s writing and Patarkatsishvili’s staging pitch the message just right”

Orwell, Kafka and Beckett walk into a bar. Sounds like the premise for a joke, and indeed there is a perverse layer of humour that runs through Craig Wright’s “The Unseen”, but on the whole it is made up of pretty serious stuff. There are definite shades of the three writers’ influence, who could well have been swapping notes as they downed their drinks. The bar man is a young, interrupting Tarantino who fancies himself as a bit of a dramaturg while pulling pints. Frivolity and comparison aside, though, Wright’s heavy, harrowing, thought-provoking style comes with its own ambition, agenda and raw uniqueness.

We are plunged straight into the action. Even during the pre-show we are involuntary voyeurs, gazing upon Valdez (Waj Ali) and Wallace (Richard Harrington) in their solitary prison cells. Wallace is asleep while Valdez nervously looks around him, twitching at the sight of invisible ghosts. We see the whites of his eyes as they roll upwards in fear, dejection and confusion. Simon Kenny’s brutally realistic set encases both protagonists in their own worlds. Their own cells, and thoughts. Without making eye contact they communicate, passing the time playing memory games to keep madness at bay. They are grieving for their lost freedom, exacerbated by the fact that neither one (nor us) knows why they have been incarcerated.

Fear and paranoia continually wrestle with hope and optimism. The former invariably gaining the upper hand. A distinctly wordy play, both actors maintain an extraordinary command of the dialogue. Harrington’s Wallace is the more restrained and resigned elder captive. A slave to routine after eleven years, he is just about managing to keep control of his own mind. Waj Ali, as the younger Valdez, is a relative newcomer. Just three years into his stretch he is on rockier ground, conjuring up a hallucinatory woman in the next cell who has promised to help him escape. But both know their only escape from this world is death. Both actors exercise an extraordinary attention to detail that accentuates their personality traits; long buried under institutionalisation.

Into this world bursts Smash, the prison guard whose impossibly complex and damaged character is breathlessly brought to life by Ross Tomlinson. As much a prisoner as the two captives, he lashes out with murderous intent in a vain attempt to kill the oppressive empathy he feels. Both torturer and tortured, we can’t help but wonder how Tomlinson unwinds after each performance. It is a savage hour and a half, and undoubtedly polemic. Director Iya Patarkatsishvili describes it as “more than just a story; it is a call to action”. And for that reason, it deserves to be seen far beyond the smaller space of Riverside Studios. The macabre gallery we walk through on our way into the auditorium bears witness to the reality that is more disturbing than the fiction. The play’s anonymous setting is betrayed by the caged headshots of Russians who have taken a stand against Putin’s regime and found themselves imprisoned as a result.

Against this backdrop, Wright’s writing and Patarkatsishvili’s staging pitch the message just right. Short enough to hit us with a whiplash force, the grotesque humour pricks up our ears to the message that sinks in as insidiously as Orwell’s infamous ‘newspeak’. Not for the faint hearted, its own heart is ferociously strong. Mike Walker’s palpitating sound design sends literal alarm bells. This is happening every day. The finely nuanced and authentic performances are integral to our understanding of ‘The Unseen’ characters. They need to be seen, just as their factual counterparts do. “The Unseen”, in short, is a must see.

Tag Archives: Simon Kenny

ROMEO AND JULIET

★★★★★

Hackney Empire

ROMEO AND JULIET

Hackney Empire

★★★★★

“thrilling, raw, moving, and completely unforgettable”

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

THE UNSEEN

★★★★

Riverside Studios

THE UNSEEN at the Riverside Studios

★★★★

“Wright’s writing and Patarkatsishvili’s staging pitch the message just right”