This is the Shakespeare adaptation we all deserve.
Shakespeare’s Romeo and Juliet is one of the most widely taught, adapted and referenced plays in history, and definitely one of the most popular of his. With this tragic romance being one of the most retold stories, this new adaptation had to be something spectacular that pushed the limit of our expectations. And I am so happy to say it exceeded them, tenfold.
I’ve seen quite a few Shakespeare plays (having been invited to review a few in recent years) but, despite them being astounding in their own right, none of them have come close to the lasting impression that I feel this one will have. I think this comes with the play’s exceptional balance between remaining faithful to the original text and adapting it so cleverly, with the addition of music throughout that add layers of believability and relatability to the characters.
The transition from Shakespearean monologue to lyrics was flawless, with the colloquial words and phrases of rap and R’n’B culture mixing seamlessly with the original voice of Shakespeare, so you could barely tell where one ended and the other began. It was a masterpiece. This is the modern adaptation we all deserve of a classic – one that enhances the original story without losing the essence of what made it unique in the first place.
When it came to the actors, there was not a single weak link in the chain, with every single one of them working doubly hard to deliver both the complex monologues and the incredibly fast raps with precision and passion. Many of the cast were also notable musicians, making their way up to the balconies to join the live band and choir to perform instrumental accompaniments and solos. Not to mention, the wonderfully timed humour that everyone added to their roles – it made, what can be quite a dry play if done incorrectly, very enjoyable.
Another perfectly clever element was the decision to draw parallels between modern politics and the fictional politics of Verona; two opposing parties at loggerheads with one another while the working class continue on, their lives disrupted by a feud that is not theirs to bear. The use of spray painted sets with “My poverty, not my will, consents” unfortunately sits so well within the time in which we currently live and serves as a stark reminder to us all of the lack of control the working class have while billionaires gamble with our lives as the currency. But I digress…
It’s at this point in the review I would usually offer criticism, but I truly cannot find a flaw in the production, nor the staging, the costuming or the cast. Therefore, instead of constructive feedback, I’ll say bravo to all involved. I also love that the Belgrade Theatre is providing free accompanying workshops for young people in school who wish to engage with the text, so a special shout out for that too.
I am a big fan of any production that pushes the boundaries of what we know about historical texts and makes them accessible to a modern audience. SIX, Fantastically Great Women who Changed the World, and now this. It’s one I’d recommend watching whether you’re a fan of Shakespeare or historical plays, are currently teaching them or are, somehow, completely new to the story. And that is just one small part of what makes this an exceptional piece of theatre.
With thanks to the Belgrade Theatre for the invitation to watch and review. Play runs until 8th March 2025 at the Belgrade before moving on tour.
queer crossroads 
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