Review: Romeo and Juliet at Shakespeare’s Globe Theatre

7 Jun

⭐⭐⭐ (Three Stars)

I was genuinely intrigued when I heard that this summer’s production of Romeo and Juliet at Shakespeare’s Globe would be set in the Wild West, imagining duels at dawn, showdowns at saloon bars, and the tragic tale of star-crossed lovers given a bold new twist. While the concept initially promised a fresh and exciting reimagining, this production, directed by Sean Holmes, doesn’t fully deliver on that potential.

The aesthetic elements of the setting are certainly eye-catching. Paul Wills’ costume design is a triumph and the couple’s first meeting at a line dancing party is a fun and clever nod to the genre. However, beyond these surface-level choices, the Wild West concept feels underdeveloped. The characters speak in their actors’ British accents, and gestures like finger guns, though amusing, are more comic interjections than integral to the world-building. As a result, the setting feels more like window dressing than a meaningful transplant of Shakespeare’s tragedy into a new cultural context.

Some moments in the play land beautifully, such as Romeo and Juliet’s initial encounter, which is full of charm. Yet elsewhere, the tonal balance falters. Death scenes, pivotal to the play’s escalating tension, often play awkwardly. Lines like “I am slain” are delivered in a borderline camp manner that provokes laughter from the audience, and other deaths are so drawn out they lose emotional impact. It’s unclear whether this is a deliberate subversion of the tragedy or a misfire in tone, but either way, it dilutes the dramatic stakes.

Lola Shalam is a clear standout as Juliet. Her expressive face speaks volumes in scenes where words aren’t enough, and especially in her scenes with and about her parents’ suitor for her, Paris, where her disdain is quietly hilarious. Her chemistry with Rawaed Asde’s charming Romeo is genuine and builds touchingly. Shalam’s emotional depth in the second act anchors the play and offers moments of real poignancy amid the production’s tonal inconsistency.

The set design, also by Wills, is fairly sparse: swinging saloon doors and a few wooden chairs form the majority of the set. While this simplicity keeps focus on the actors, it doesn’t do much to reinforce the Western theme. Occasional set pieces are rolled in for key scenes, such as Juliet’s bed or the balcony, adding some dynamism but feel more functional than atmospheric and don’t make full use of the immersive potential of the standing audience at the Globe.

Ultimately, this Romeo and Juliet is an ambitious but uneven production. It’s visually inventive and features some strong performances, but the Wild West setting never fully takes root, leaving the audience with a stylish but somewhat shallow reinterpretation of Shakespeare’s iconic love story.

Romeo and Juliet runs at Shakespeare’s Globe Theatre until 2nd August 2025.

Tickets are available here: https://www.shakespearesglobe.com/whats-on/romeo-and-juliet/