Romeo and Juliet at Liverpool Everyman Review
Written by Roby for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
“Romeo and Juliet” - a story that almost everyone is familiar with, yet somehow a story that the Everyman still manages to breathe fresh life into. This energised, pacy production is overflowing with skilful storytelling, modern infusions, and a dynamic soundtrack, making it a “violent delight”.
The show, with its minimalistic yet effective set (Sascha Gilmour) and grungy, unsettling opening, is atmospheric from the outset. The Everyman is an almost perfect venue for this production, allowing cast members to enter through the auditorium and, at times, interact with audience members. Kelise Gordon-Harrison (Benvolio) is particularly strong at this; she is a great performer oozing with confidence and effortless charm. The only downside to the Everyman’s intimate venue is that the audience can see the performers and the stage a little too well, making the fight scene at the end of the first half look obviously fake in places. This was made up for, however, by the brutal neck-snapping of Paris (Milo McCarthy, a charismatic performer with great range) at the end of the second half. A great choice.
All technical elements of this show are particularly well thought-out and used expertly. KJ’s lighting design complements scenes well, Rob Newman’s associate sound design is very strong, and Sascha Gilmour’s set and costume design is modern, minimalist, and intelligent. The only struggle is that at first, I found it tricky to distinguish between Paris and Tybalt’s costuming, perhaps because I had simply not seen enough of each character yet to know who was who. By the end, it became clear, and the captions certainly helped when distinguishing between characters (props to the Everyman who always have so many accessible performances on offer).
Director Ellie Hurt has made excellent use of all technical elements in this production. The YEP graduate aimed to create a “stripped back, contemporary world that feels like now but could also feel timeless and anywhere” – and she did just that. Through expert use of set, costuming, and an ‘abridged’ version of the script which really leans into innuendo and comedy, this production feels both fresh and timeless; it’s well paced, full of modern ideas and very engaging. Hurt is undeniably talented and a strong directorial force to keep an eye out for in the future.
Dom Coyote’s composition is truly remarkable, in keeping with the grungy style of the show yet still showcasing a wide range of musical talent. The King Mab song (taking place at the Capulet ‘costume party’) I particularly took a liking to, with Elliot Broadfoot (Mercutio) delivering an excellent vocal performance. Broadfoot, alongside McCarthy, provide some of the best vocal moments of the night. However, I did find the end song (a reprise of the “I defy stars” motif) made the ending of the show more musical-like rather than a play with songs. It was a little bit cheesy, and I think the show could have just ended after the closing line. Nevertheless, Coyote’s compositions are highlighted during the warped, church-like vocal underscores. These have some great harmonies and are really appealing to the ear.
The cast, in general, are a true strong point for this production – there is not a single weak link. I particularly love Hurt’s choice to cast female presenting actors in male presenting roles (such as Eithne Browne as Friar Laurence and Kelise Gordon-Harrison as Benvolio), completely subverting the nature of Shakespearean theatre, where only men could appear onstage.
Ebony Feare’s portrayal of the Nurse is a standout for this production – it’s playful, raw and comedic, allowing Feare to have the audience in the palm of her hand. Elliot Broadfoot’s portrayal of Mercutio is also a standout, with the only shame being that he simply does not feature enough in the second half (although I loved the reimagining of the Apothecary as a ‘dodgy dealer’). And of course, one cannot talk about a strong cast without mentioning the two leads themselves – Alicia Forde as Juliet and Zoe West as Romeo. Both are extremely captivating, with West shining through their natural charm and Forde displaying a vast emotional range, particularly in her soliloquies and tense scene with her father, played brilliantly by Joe Alessi. Both West and Forde deliver raw, powerful performances to the audience, which are emphasised further by the truly tragic final death scene, which is superbly directed and quite overwhelming, with all technical aspects and performers coming together to deliver something truly special (the use of rain was splendid, too).
Packed with energy, raw emotion, and a dynamic cast, ‘Romeo and Juliet’ runs at the Everyman Theatre in Liverpool until Saturday 4th October. This fresh version of a classic is potentially the strongest production to come from the Everyman so far this year.
★★★★
