Romeo and Juliet, Hackney Empire Review
Kyle Ndukuba and Mia Khan in Romeo and Juliet. Photo by Nicola Young.
Written by Cathie for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Was there ever a tale of woe more retold than that of fair Juliet and her Romeo? In a co-production by Belgrade Theatre, Bristol Old Vic and Hackney Empire, Director Corey Campbell breathes fiery new life into this timeless tale of star-crossed lovers. Shakespeare’s iconic iambic pentameter lines remain intact but with an innovative new score by That’s A Rap, the core of this tragic love is now infused with R’N’ B and Rap and powerful baseline beats. There is a palpable aura of raw passion and electric tension as we explore a Verona unlike any we have seen before.
The plot is updated into a semi-modern world where the noble families of Caplet and Montague are warring political parties, with blue and red used to reflect their ideologies. Interactive screens showcased senior family members speaking in the House of Commons, with quotes streamed from modern politicians, including Farage. Some modern technology is used to showcase any political movement or interaction with the Prince, especially in trial scenes, however, the rest of the story keeps to more traditional elements. At times, this works extremely well and in the second half is used to powerful effect.
The set, designed by Simon Kenny, is reminiscent of a brutalist coliseum in two tiers. Its starkness is a reminder of the “violent ends” that await much of the cast and throws much intensity into focusing on this cast and their stellar performances. His use of modern costuming, especially the evening dress for when Juliet and Romeo meet, was beautiful and grounded the production in the near present. Chris Swain’s lighting direction was also fantastic in creating a visceral sense of the time running out for the doomed lovers and subtly increasing the emotional layers for each scene. The musicians are positioned in the top tier, showcased throughout the performance, and the inclusion of a community choir seated on either side of the royal circle gives the eerie impression of a jury, whereby casting the audience as silent judges to the unfolding tragedy.
The immersive elements add a really enjoyable element to the production, with the program handed out in the form of a headline newspaper in the interval and a voting booth at the back of the stalls where you can choose which candidate to vote for. This vote is then shown in the second half of the play. I would have liked to have seen election posters scattered around the theatre to add to the immersive feel, but it certainly made the audience more invested in the play.
The cast’s passion for Shakespeare is unmistakable. Their intensity, joy, and cohesion as an ensemble brought a fresh vitality to the text. Asheq Ahktar and Lauren Moakes channelled a Macbethian energy as a scheming power couple, sharply contrasted by Ellena Vincent’s fierce and ruthless Montague. Samuel Gosrani’s Tybalt radiated menace and tension on stage, especially in some brilliant fight choreography (Rachel Bown Williams). Andre Antonio (Benvolio) and Dillon Scott Lewis (Mercutio) were absolutely phenomenal on stage. Their chemistry and gravitas were impeccable, and their monologues and narration of the plot had me spellbound in awe. Yasmin Wilde as the priest and Natasha Lewis as the Nurse brought tender nuance and charm, while Elwyn Williams (Paris) and Pete Ashmore (Prince Escalus) lent the story grounded strength and authority.
The star-crossed lovers were played by Mia Khan and Kyle Ndukuba, who delivered their roles with stunning depth and vulnerability. Their portrayals captured both the heady thrill of first love and the crushing weight of their destined fates. Khan was especially impressive in her impassioned approach, presenting Juliet not as a passive victim of circumstance but as an empowered young woman actively choosing her own destiny. Her performance added a refreshing agency and intensity to the role. Ndukuba, meanwhile, was spellbinding in his portrayal of Romeo with a skilful balancing of youthful brash vigour with heartbreaking naivety. Together, their chemistry and emotional clarity anchored the entire production and elevated its emotional resonance at each turn.
At a running time of just over three hours, this production contains the majority of the original text and plots but does make some minor revisions. These are mostly in the case of songs which add much pathos and strength to the young lovers. The group songs also attempt to further illustrate the motives of the minor characters’ views, as we see everyone’s lives spiral into chaos. The music, although fabulous in propelling the story along, does not contain any particularly memorable lines. It does leave a strong emotional imprint on the audience, however, with Juliet’s powerful solo as she dies from poison the first time, and Romeo’s buying of poison to die in her tomb also had the audience completely enthralled.
This Romeo and Juliet is a powerful gateway into Shakespeare for even the most reluctant teen. Though occasionally rough around the edges, the production’s emotional intensity and inventive presentation offer a thrilling, truly heartfelt homage to the Bard’s work. It’s a love letter to both the beauty of Shakespeare’s language and the burning relevance of his themes even today. This production definitely teaches the torches to burn brighter in its run, and I firmly recommend any lover of theatre to enrich their life with this production.
Running until 26th April at Hackney Empire
★★★★
