Review: ROMEO & JULIET, Globe Theatre

Shakespeare is such a constant in the theatrical canon that there is often a desire to do something innovative with his work. Reinventing the Bard can provoke an eye-roll or two and director Ola Ince's new version of Romeo & Juliet at the Globe will certainly divide audiences. Ince chooses to show the play from the aspect of mental health issues; the couple opt to die because they are mentally afflicted, rather than because they are in love.

The diverse cast maintain the energy and emotion of the writing throughout. Alfred Enoch's Romeo is likeable and sensitive. His death scene in particular is convincing and graphic as he collapses on the floor gasping and vomiting. Rebekah Murrell is vivacious and sincere as Juliet. She is confident from the outset, rather than innocent.

The necessity of maintaining a two-metre distance is generally handled well. The one area where it causes problems is between Romeo and Juliet themselves. Physical proximity is a necessity to portray authenticity in their relationship; without it, the love and physical chemistry between them are compromised.

The mental anguish and violence remove any love or romance; that is the theme of this version of the play, but it means that there is no chance for any chemistry between the pair. It is hard to believe they would kill themselves for such a non-existent relationship.

As the Nurse, Sirine Saba is a standout. Totally removed from the bawdy, comedic manner in which the character is sometimes portrayed, Saba is caring and dedicated, full of fun and love for her charge, with a great handle on the language.

Benvolio and Mercutio, played by Zoe West and Adam Gillen respectively, are convincing as tight-knit friends. Gillen is witty and intelligent, but also shows a manic and edgy side, reminiscent of his role as Mozart in Amadeus. West is more thoughtful, but has a good stage presence.

Another character who loses out in this production is Tybalt. Although Will Edgerton shows a suitably sharp and violent streak in the role, Ince's staging removes most of his involvement until he comes to fight Romeo. Therefore, his desire for violence makes less sense and also seems like a lost opportunity to highlight a character who has very distinct anger issues.

Ince's Verona is a dark and broken society, violence is rife and brutal, with gangs fighting with machetes and openly taking drugs. The Capulet ball is a veritable, chaotic bacchanal of drink and drugs, with nicely observed details such as Lord Capulet vomiting into an ice bucket and Lady Montague handing round bags of drugs.

From the beginning of the production, a variety of statistics and facts about social issues and mental health show up on a large screen above the stage and are also read out by various cast members. Some feel a little too worthy and preaching, such as an explanation of what patriarchy is, but most are sobering and pertinent to the action, particularly that the main cause of death among under-35s is suicide.

Music plays a huge role and Max Perryment's composition provides a great soundscape, complete with copious use of brass sections. The ball scene is conducted almost entirely through music and song, rather than dialogue, taking musical influences from Arctic Monkeys, Basement Jaxx and even Lionel Richie.

Jacob Hughes's design includes the clever use of a greenhouse frame for the Friar's apothecary, which later becomes Juliet's tomb.

It is likely that this production will divide audiences. Some will love the way it speaks to a generation who feel isolated, unhappy and need to share their problems. Others may struggle to see past the woke credentials and worry that the love in this tragic love story has been removed.

Romeo & Juliet is at Shakespeare's Globe until 17 October

Photo Credit: Marc Brenner

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