Romeo and Juliet - Bell Shakespeare

Reviewed by Kate O'Sullivan

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Bell Shakespeare’s touring Romeo and Juliet keeps things stripped back so the language can really take centre stage. It’s a smart move: without elaborate sets or costumes to hide behind, the story of reckless, head-over-heels love feels as fresh as ever—proof that Shakespeare’s teenagers still speak to us more than 400 years later.

The cast may be a bit older than their characters, but they nail the restless, impulsive energy of youth. Ryan Hodson’s Romeo charges from moping over Rosalind to falling for Juliet in an instant, his hot-blooded enthusiasm making the lightning-fast marriage feel tragically believable. Madeline Li’s Juliet is bright and worldly from the start, her excitement shaded by a clear resolve to avoid a forced match with Paris. At times a touch more stillness early on might have sharpened her dialogue, but in the heavier scenes her quiet grief hits hard.

Around them, the feud rages on. Tom Matthews gives Tybalt a sharp-edged fury, while James Thomasson’s Benvolio brings a calmer, if slightly less defined, presence. Brittany Santariga’s Mercutio is a standout—witty, unpredictable, and magnetic until the moment of the character's death. Khisraw Jones-Shukoor makes a warm, well-meaning Friar, driving some of the necessary interstitial scenes well, and Jack Halabi’s Paris could use a little more texture to rise above “dutiful suitor,” but the overall ensemble is strong.

The biggest stumbling block is in the technical, specifically the lighting. Benjamin Cisterne’s low-level design often leaves the action in a muddy half-light, especially during the night scenes, and it’s hard to stay connected when you’re squinting to make out expressions. Anna Tregloan’s black costumes (albeit augmented well with colourful moments as necessary) and the reflective black set don’t help, but it’s the dimness that really flattens the energy. The coloured garlands that shift from day to night promise a bit of sparkle yet barely get their moment, so much of the play stays in shadow. It may be that this works well in a smaller venue, but in one as large as the Heath Ledger, many audience members lose out on the visuals.

Projection is another issue in a venue this size. Without microphones of any kind, a few key lines from Adinia Wirasti’s Lady Capulet and Merridy Eastman’s otherwise hilarious Nurse slipped away, which is a shame in such a text-focused production.

Even with those hurdles, the company’s pared-back approach still lands. The portable set—two platforms, a few rugs, strings of lights—lets the words breathe, and that’s where Bell Shakespeare shines. This Romeo and Juliet may be literally dark at times, but it still proves that love, rivalry, and teenage recklessness never get old.

Reviewer Note: Tickets for this review were provided by the theatre company.