Romeo and Juliet at Brighton Open Air Theatre Review
Written by Rosie for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review. All views are our own
It is only their second stop on their UK summer tour, and the Duke’s Theatre Company perform their rendition of Shakespeare’s “Romeo & Juliet” with the ease of a hundred shows under their belt. Presented by a cast of only six actors, many of the familiar characters are shared amongst the cast in a celebration of Shakespearean gender-swapping and multi-rolling, perfectly set within the confines of the piece. You would be hard-pressed to find someone who was unfamiliar with the Bard’s most famous love story, but under Joseph Pitcher’s direction, this production is fast-paced, unrelenting, and extremely accessible for those who may consider themselves novices when it comes to live theatre and theatre-lovers alike.
“Romeo & Juliet” at its core is a story of heightened emotion; love, woe, anger - the way that youth process these feelings as they transition into a new stage in their life makes it seem as though the world is on fast-forward. Pitcher’s direction perfectly paces the piece, with the material flying by in a whirlwind of highs and lows with little moment to pause as we watch the star-crossed lovers fall fast and hard for one another. Most impressive of all was the movement and fight direction (by Rachel Moran and Dani Mac respectively), where fabulously choreographed sword fights and energetic group dancing bring moments of splendour to the well-known piece. Where Mercutio and Tybalt engage in a volcanic exchange of swords, the crowd’s gasps were enough to tell you how enraptured they were by the scene unfolding before them with each swish of their rapiers. There were moments I wish that the show had extended beyond just the small stage, wondering about the possibilities for even bigger fights, dances, moments of movement where the show excelled so splendidly. That being said, the stage (designed by Diego Pitarch, donned in imagery of constellations and, perhaps, the hand of God showing the lovers’ fated destiny written in the stars) served as a perfect vessel for the show - making use of every single section, from trap doors to ladders and balconies, each part of the stage was utilised by the cast throughout thanks to Pitcher’s direction. I particularly loved the use of the trap door in the floor where Romeo emerges from his heartbroken, depressive episode and the apothecary uses to sell his poisons as he lives in poverty.
Leading the Montagues with boyish, teenage fervour is Alfie Jameson as Romeo, whose emotional delivery bursts from him like it cannot be contained, capturing the feeling of falling headfirst into intense, teenage love. Due to the fast-paced nature of the direction, it does feel as though he is not able to explore the journey from Romeo’s beginning lovelorn woe before he is thrust into the highs of falling for Juliet, but once he is in full swing, it is hard not to root for him. At the head of the Capulets, Juliet (played by Molly Marr-Johnson) plays an equally youthful lover, but feels less connected to the script in soliloquies where delivery falls short of convincing. Moments between the two feel outmatched in performance, though their chemistry is enough to sell the scene in fervid kisses and lingering touches. The real star of the show, however, is Joe Carrick, who plays both Romeo’s friend Mercutio and Juliet’s mother, Lady Capulet. For the purpose of this piece, the role of Lord Capulet is absorbed into Lady Capulet, whom Carrick plays with real conviction. There are moments of leaning into the comedy of a male actor playing a female character, but it is never overplayed to the point of pantomime or even drag; in fact, it feels more akin to how the play would have been staged with a full male cast in Shakespearean times, respecting Lady Capulet as a character. There is a clear difference between the dual roles, taking me a few scenes to realise that it was the same person playing both mother and best friend. Similarly, Joshua Merara portrays the more amicable Benvolio and Friar with discernibly different demeanours, counteracting the brashness of Mercutio and Romeo. Emily Juler’s Nurse is loud, outspoken and stands firm as Juliet’s protector and confidant and Sam Claridge as Paris is played with a sleazy charm which he sheds for full-bodied rage whilst adopting the role of Tybalt. It is hard to properly fault the cast as a whole, their undeniable passion for the piece bursting forth into the outdoor space, reaching far beyond the amphitheatre. The energy is palpable and not once did it falter, even in the heavy heat of the afternoon bearing down of them, which is a commendable feat for anyone.
Each moment of the Duke’s Theatre Company’s production of “Romeo & Juliet” feels perfectly crafted around making it as accessible as possible. With clear delivery, strong performances, and signifiers in costumes (also designed by Diego Pitarch) which use colour visuals and strong recognisable themes to distinguish who is who, it would be hard not to understand everything that is going on, even for those less familiar with the works of the Bard. There is never a dull moment, even if you have seen countless permutations of the show prior. It bursts with fresh, exciting energy, which lends itself perfectly to the feeling of young, forbidden first love. I would encourage anyone who is interested in beginning to see Shakespeare to go and see this production, and equally for those who are looking for a non-stop, enjoyable trip to the theatre. With enough action, highs and lows, music, and drama to satisfy a wide variety of theatre-goers, “Romeo & Juliet” by the Duke’s Theatre Company is a brilliant, exciting piece of outdoor theatre, perfect for the upcoming summer season.
Duke’s Theatre Company’s production of Romeo & Juliet is touring across the UK for a 2026 summer season from May to October. Dates and venues can be found on their website.
★★★★
