Review by Seth Wilby
⭐️⭐️⭐️⭐️
When producing Shakespeare, you need a USP. Romeo and Juliet’s story of star-crossed lovers has been told countless times, and the choices made in each retelling can massively alter its impact. Just last year, for example, a teen-focused Broadway revival saw commercial virality, whereas Jamie Lloyd’s minimalist West End production was less critically successful. However, when you don’t have the star casting of most major revivals nowadays, you need to enhance the text to stand out. That’s where this production relies on the use of rap.
Helmed by director Corey Campbell, this bold reimagining places the rival families as political oppositions, with some implied racial conflicts between them. Although sticking largely to Shakespeare’s original language, this production intersperses the scenes with rap and sung-through musical numbers, which explore the themes of the preceding scenes or emotions of the characters.
This production’s greatest strength is in its ability to engage a younger audience. From the moment you enter the Bristol Old Vic, you are immersed in this political landscape of rivalry between Montague and Capulet - two large campaign banners hang in the foyer, along with a row of polling booths, and graffiti-like campaign slogans covering the bathroom mirrors. The curtain on the stage shows a live feed of voting results, with a QR code encouraging audience members to vote for their choice of leader, as well as consider the most desirable traits in a politician. It was marvellous to see teens taking their seats and instantly giving into the production, scanning the QR code in what was a genius way to prompt this engagement.
As the show begins, it is even more clear that this production is targeting those for whom it may not ordinarily appeal, with the use of rap the key method in achieving this. With lyrics by Keiren Hamilton-Amos and Corey Weekes from That’s A Rap, these interludes flow remarkably seamlessly from the Shakespearean scenes, and condense the intensity and emotion into an energetic and passionate display, with far more breadth of uses than it first appears, ranging from a rap battle fight between Tybalt and Mercutio, to a vocalised display of Juliet’s grief. Although none are particularly memorable, they serve a toe-tapping purpose in the moment and, in the context of the play, their use could, in many ways, be considered almost revolutionary, with lyrics posing questions on blame and justice which are sure to extend ideas and prompt questions on the text. These interludes almost always seem perfectly distributed - any more songs would drag the runtime past the three-hour mark, but any fewer could risk losing the attention of the audience, and sacrificing the production’s aims as a result.
However, the production’s intent is often where it falls short, seeming like it has tried to achieve too much, meaning that some smart ideas aren’t explored as much as they could. As mentioned earlier, the idea of getting the audience to vote is great, but doesn’t feel like it is used to its full potential- there is one moment in the second act where screens read who won, but this has no influence on any of the action. Just a small reaction from the selected candidate, or more relevant question choice in the interval, would be beneficial to avoid it seeming like a meaningless novelty. There’s also a wider problem in the concept of imagining Montague and Lord Capulet as politicians, since we are never actually told or shown anything that suggests what their ideologies may be. In the opening number, each quote Nigel Farage and Priti Patel (stood in front of video screens showing the real-life footage from the House of Commons), which gave me lots of hope that the show would continue to parallel modern politics. Unfortunately, this technique is never used again, feeling like a great idea that loses its potential in its scarcity.
Campbell’s direction is almost consistently riveting, offering nice variety in its staging, although, when the structure of the rap is removed, the story does seem to not be fully realised as the tragedy it is - the scene of Romeo and Juliet’s suicides is the clearest example of this, failing to carry as much emotional weight as it should. When all the elements come together though, the direction shines, combining the music, choreography (by Annie-Lunnette Deakin-Foster), and video design (by Barrett Hodgson) into some powerful scenes. The end of act one, depicting the aftermath of Romeo killing Tybalt, is a conspicuous example of this, delivering a stirringly potent depiction of anger, grief and justice. Set against Simon Kenny’s concrete, utilitarian set, and dressed in modern costumes (also by Kenny), the action has an intriguing ambiguity, with Campbell leaving ideas open to some interpretation, and never spoon-feeding the audience with what to think.
The cast can be described similarly, excelling most in the show’s more interpretive scenes, although some of the Shakespearean language feels unnatural, and almost jarring in its delivery, particularly in this transformed setting. The strongest display of the concept’s potential, though, is from Kyle Ndukuba, who possesses a masterful grasp of the rhythm of both the Bard and the rap. Ndukuba commands each scene he is in, displaying such a thorough understanding of each line of the play through his passionate and naive portrayal. He forms a great trio with Dillon Scott-Lewis’ jesting Mercutio and Andre Antonio’s charismatic Benvolio, and there is a palpable chemistry in the first meeting between Romeo and Juliet, played with a fragility by Mia Khan, whose act two solo captivates. Supporting roles also have moments of dramatic excellence, particularly Lauren Moake’s chilling portrayal of parental grief as Lady Capulet, and the maternal convictions of Yasmin Wilde’s Friar.
This isn’t a show that will suit everyone’s taste. It certainly isn’t the strongest Shakespearean piece, and there are clear places where it stumbles due to an overly ambitious concept, but I felt that it proved Shakespeare and rap to be a great love story in what is a fresh and compelling take on the classic play that is sure to engage younger theatregoers, and that is certainly something worth commending.
Romeo and Juliet plays at the Bristol Old Vic Theatre until April 5th
For tickets and information visit https://bristololdvic.org.uk/whats-on/romeo-and-juliet-2025
Photos by Nicola Young