Romeo and Juliet

Harold Pinter Theatre

Playing until 20th June 2026

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Photo credit: Manuel Harlan

A revival of the beloved Shakespearean play, this version of Romeo and Juliet dives into the tragic tale of the titular star-crossed lovers from two the opposing Capulet and Montague families who have held a long history of hatred and rivalry. What sets this version apart are the brief glimpses into a number of “what if” moments and whether these could have changed the eventual woeful outcome that is the tale of Juliet (Sadie Sink) and her Romeo (Noah Jupe).

What if Juliet never noticed Romeo or if Romeo’s close friend, Mercutio (Kasper Hilton-Hille), never confronted and killed by Juliet’s cousin, Tybalt (Aruna Jalloh), or if Capulet (Clark Gregg) never forced Juliet to marry Count Paris (Lewis Shepherd) after Tybalt’s death? This is probably by far the most interesting take of this timeless piece. The lighting design by John Clark projects the day and time onto two sliding walls, it becomes clear when time is rewound and the near identical scenes play out in different ways following a bright flash.

However, it is worth noting that these differing scenarios are not linked and are very much standalone in each case. Should the story have progressed in a different way at each of these points, the tale of Romeo and Juliet would have ended there and then.  

Although it has the potential to be a provoking concept, given that none of this follow through or the story would not have progressed, these are simply fleeting moments of observations and nothing more than an immemorable thought exercise. For a play that is almost three hours in length, one could argue that this is more of a distraction from the main plot, shifting time away from characters that are crying out for more development. Tybalt and Paris in particular, are desperately under-developed in this version. Tybalt in particular, is reduced to a shell of plot device, serving only to obey Capulet’s orders and Romeo’s victim.

Amongst the character, Clare Perkins in the role of the nurse is by far the most entertaining, stealing the spotlight in every scene in which she appears. There are wit, sass and wisdom in Perkin’s display of this character, particularly in response to this version of Juliet’s demeanours.  

Under the direction of Robert Icke, Jupe and Sink’s take on Romeo and Juliet are clearly distinguished from those that came before them, and not just the fact that the two take on a more modern look in their costumes designed by Hildegard Bechtler. Sink’s Juliet is noticeably very easily excitable, particularly following her meeting with Romeo, very much how a teenage girl in love would react. Playing opposite Sink, Jupe’s Romeo is perhaps the most level-headed version I have ever seen. With the exception of when he gave in to rage and killed Tybalt, all his other actions seem reserved. While the two do a wonderful job talking about their love for each other and demonstrate these individually, their chemistry is the dullest when they are with each other, as if they are too busy talking about their own feelings at each other, but not to each other.

This revival has certainly equipped characters with ample weaponry, both literally and metaphorically, almost as if they need to defend themselves at a moment’s notice and with a knife easily reachable by many of the characters. Juliet hid one under her pillow and Romeo seems to be just carrying one at all times. For all the sharpness of weaponry available to the characters, this revival lacks a certain keen edge.

Creatives

Director: Robert Icke

Set and Costume Designer: Hildegard Bechtler

Lighting Designer: John Clark

Sound Designer: Giles Thomas

Video Designer: Ash J Woodward