Review: PLAYING SHAKESPEARE WITH DEUTSCHE BANK: ROMEO AND JULIET, Globe Theatre

A revival marking twenty years of a remarkable education initiative, Playing Shakespeare with Deutsche Bank: Romeo and Juliet at the Shakespeare’s Globe demonstrates accessible Shakespearian theatre at its very best. Directed by Lucy Cuthbertson, this fast paced ninety minute production captures the essence of Shakespeare’s tragedy while presenting it in a form which resonates powerfully with young teenage audiences. It is modern, clear and inclusive, without losing sight of the emotional core of the play.

From the moment the audience enters the Globe, the atmosphere is charged with tension. The stage and surrounding space are marked by graffiti and floral tributes commemorating fallen characters, while masked and hooded cyclists forcefully and intentionally weave through the standing audience, in an intentional intimidating fashion. Placards declaring “throw your weapons to the ground” foreshadow the escalating violence. The immersive staging immediately draws the crowd into the world of rival gangs and simmering hostility.

As the tale unfolds, the rival gangs descend into a sea of cyclist phone snatchers and electric fight scenes, transforming Verona into a modern battleground. The vision is fresh, well measured and irrestisibly compelling.

The production condenses the story with impressive insight, ensuring that the narrative remains coherent, while focusing firmly on the tragic journey of the star crossed lovers. Civil brawls unfold with flashes of modern comedy (watch out for the wig snatch) before turning darker, with baseball bats, almodt laughably casual phone snatching and horrific knife crime, reflecting the worst of contemporary urban tensions. Audience interaction is used effectively, heightening both humour and menace as chaos erupts.

The design by Natalie Pryce is vibrant and sharply observed. Costume choices cleverly evoke youth culture, with the Montagues and Capulets locked in a playful yet symbolic dispute between Adidas and Nike. Juliet appears in a pink Adidas tracksuit, while the Nurse and Lady Capulet lounge in their own tracksuits, drinking bright blue alcopops. The notorious Capulet party bursts into life with a gold themed spectacle, where Romeo, Mercutio and Benvolio arrive in striking gleaming attire, before Tybalt’s fury at the recognition of their presence ignites the night.

The cast bring impressive vitality to their roles. Hayden Mampasi delivers a Romeo full of restless energy and youthful vulnerability, while Felixe Forde presents a Juliet who is both spirited and moving in her tragic determination. Keanu Adolphus Johnson gives Mercutio an electric presence, injecting humour and swagger before the play’s darker turn. Tybalt, played with fierce intensity by Liam King, commands genuine menace as his gang of cyclists circle their prey.

The supporting performances deepen the modern world of the play. Miriam Grace Edwards brings strength, warmth and comic timing to a reimagined Nurse who doubles as a community health worker with a fondness for shopping at H&M. Marième Diouf offers a thoughtful Friar Lawrence tending a vegetable allotment and food bank, grounding the character in the realities of contemporary community life.

One of the production’s most striking achievements lies in its physical storytelling. The fight direction by Kevin McCurdy is exceptional, balancing raw energy with precise choreography that reflects the harsh realities of knife crime. The spectacle of bicycle riders circling opponents, combined with the ominous sound of a rotating wheel used in the score by Ben Hales and Dave Price, creates a constant sense of danger. Thankfully the moment when Romeo kills Paris is included, faithfully following Shakespeare’s text, handled with striking clarity and emotional weight.

Throughout the performance the young audience responded viscerally. Gasps, screams and captivated silence rippled through the standing crowd as fights erupted and tensions rose. The atmosphere became hightened in the wake of both Lord Capulet and Paris ruling with domestic violence. Shakespeare’s themes of honour, rage and youthful love remain painfully relevant today.

This revival stands as both a thrilling theatrical experience and a testament to the enduring impact of the Playing Shakespeare project. By bringing Shakespeare to life in a language that young audiences recognise, the production honours the timeless tragedy, while speaking directly to the world we inhabit today.

This is youth theatre at it's very best, accessible, engaging and thrilling.

Playing Shakespeare with Deutsche Bank: Romeo and Juliet at Shakespeare’s Globe runs until 12 April