Romeo and Juliet
Having previously seen work by Flabbergast Theatre, I was excited to witness their take on Romeo and Juliet, I was not disappointed.
For me, Flabbergast offers the closest experience to what I imagine an original Shakespearean audience might have encountered: bold, physical, and unafraid to lean into the comedy, even in the darkest of plays. In one of Shakespeare’s most well known tragedies, it was refreshing to see exaggerated characters used to highlight humour, both in the text and through physicality.
The infamous “Do you bite your thumb at us, sir?” exchange was a perfect example. The elongated emphasis on “sir” set the tone early on, making it clear we were in for something dynamic, rather than a simple retelling.
Mercutio (Simon Gleave) was a real standout. If I were a groundling in Elizabethan England, I would have cheered loudly, even as a modern audience member, I found him magnetic. His energy and unpredictable movements had the audience on edge in the best possible way.
Peter, often a throwaway clown-servant, was given proper space here. Delivered with a slow, grumbling voice and heavy gait, he lightly threatened some audience interaction, adding a layer of mischief. It was delightful to see him not only included but celebrated.
Wilton’s Music Hall, with its aged beauty and patinaed charm, is the perfect venue for such a production; it almost feels sacrilegious to over-dress it. Thankfully, the set design kept things minimal and effective. Built from scaffolding, the multi-level structure gave the cast room to climb, leap, and disappear. Naturally, the balcony scene had its due, but the staging remained active and engaging throughout. Wigs, masks and swords hung around the space like reminders that this is a show, firmly rooted in theatricality.
The prologue, performed in unison by a chorus of voices, brought power and urgency. The Prince, stationed high above the others in a golden mask and spotlight, had an ethereal, almost divine quality. It was a smart move to elevate him both literally and metaphorically, a ruler apart from the masses.
What truly made this production shine, though, was the portrayal of Romeo and Juliet themselves (Kyll Thomas-Cole and Lennie Longworth). Too often, these characters are played with a kind of limp melancholy, all love and no life. Here, however, they were charismatic, impish, and convincingly youthful. Their chemistry was a joy to watch, and their impulsiveness felt earned rather than imposed by the plot.
While largely faithful to the original, there were a few playful liberties taken with the text and costuming. The masked ball featured a crusader knight, a fairy godmother from Shrek, and some foxes, adding a touch of visual absurdity that somehow didn’t feel out of place.
Describing Flabbergast Theatre’s style is no easy feat. The ensemble moves like liquid, constantly flowing around one another, intertwining, supporting and lifting with grace. The physical storytelling is mesmerising. Admittedly, some props felt awkwardly placed, and at times I feared someone might trip over a stray costume. That rough edge added to the magic. It felt organic, like we were watching a troupe of players finding the magic in the moment. Make no mistake: all the key beats, especially in the intricate physical theatre sequences, were executed flawlessly.
This is a company that performs with heart, soul, and muscle and I’d happily watch this Romeo and Juliet again.
This show was reviewed on the 11th June 2025 at Wilton's Music Hall, London where it runs until the 21st June 2025. Tickets available here: Romeo and Juliet - Wilton's Music Hall
Review written by Valentine Gale-Sides
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Photo credit: Michael Lynch
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