This all-singing, dancing and rapping take on a theatre classic is overall a triumph. Campbell has collaborated with local companies ‘That's a Rap' and ‘A Class' as lyricist and composer. This usually classical play now sits very close to musical with a full soundtrack. The captivating production has a strong cast, and the blending of music into dialogue is generally seamless. The beats, orchestrations and songs add a real depth and explanation to the narrative. The use of rap here feels like an expression beyond Shakespeare's words. This is definitely the most accessible telling of Romeo and Juliet I've seen. I can imagine young audiences will understand the story and character intentions much better in this format. Corey Campbell has given the piece a fresh approach without losing the art of Shakespeare's original work.
Taking place within contemporary rotating walls (set design by Simon Kenny). This production of Romeo & Juliet is modern, political, and at times breathtakingly powerful. The premise is that the Capulets and the Montagues are like fighting political parties that lead Verona into a feud. It's a visual feast with on-stage video design (by Barret Hodgson), film integration, as well as the band and choir high above the stage. Some of the opening visuals of Priti Patel and Nigel Farage muddied the concept a little, but Campbell's message to the audience is: who is to blame? And what did we do to stop events from progressing? A newspaper titled “WHO DID IT?!” Replaces a traditional programme, the concept of the production is both clever and playful.
Hackney Empire may not be the best space for a show like this. I appreciate this is a touring production, but the sight lines aren't always the best. The iconic balcony scene is staged with both Romeo and Juliet facing out to the audience, and we lose their connection, and in a lot of scenes staged on the bed, we lose the actors' faces. The community choir sound great, but add little visually from the stalls where I sat. The audience feels far away at times but moments like Romeo bursting out of the bottom of the stage and Benvolio flirting with ladies in the front row definitely hook us back in. I can imagine this production working better in an in-the-round or traverse space.
Kyle Ndukuba makes his stage debut opposite Mia Khan. The pair have a wonderful chemistry and young, bursting energy that makes their dying love believable. As is often the case with Shakespearean productions, some of the lines are lost or driven through too quickly, especially with the added orchestrations, but this levels out. Dillon Scott Thomas lifts every scene they walk into as a commanding Mercutio. Natasha Lewis as Nurse is another standout, her range is incredible to watch over the two halves. Ellena Vincent holds down an impressive vocal track. The whole ensemble really have made the show and its characters their own.
This is the version of Romeo and Juliet I needed to see as a child. I hope it has another life with a longer run, but it is here in London until Saturday if you're lucky enough to catch it.
Review: Nicole Botha Photos: Nicola Young Photography