Review: ROMEO & HAMED, RIVERSIDE STUDIOS at Riverside Studios
Superb modern take on Shakespeare's tragic love story featuring two men – one white and the other a Muslim
Writer Scott Horgan's highly confident debut play, Romeo & Hamed, currently at Riverside Studios, is an exhilarating modern take on Shakespeare's Romeo and Juliet. His beautiful verse that's bang up-to-date deals with big themes like forbidden love, religion, race and family in a hugely accessible way. If I was head of the Arts Council for a day, I'd make this funny and poignant play compulsory viewing for young people to introduce them to one of the Bard's best-known works.
Horgan, who stars as a well-intentioned but flawed Romeo, transfers the story to contemporary Croydon. Romeo's done bad things with a criminal gang and is trying to start anew. He's sleeping on his sister Grace's sofa and hangs out with Grace's partner Nico, who also serves as the narrator for the piece, and Boxer – a big guy who can be as soft as he can be threatening. Romeo meets Hamed, a young gentle Muslim man, and they meet on the rooftop of a building that looks down over the estate.
Photo credit: Craig Fuller
This play is ground-breaking in many ways. Directed by a very able Maddy Corner, the pacing is spot on – with high-energy scenes of dancing in clubs contrasting with quiet moments when the lovers meet and when Hamed tells the Imam about his feelings for Romeo that contravene his religious beliefs. And there are cleverly constructed scenes displaying tension between Romeo and Grace, who desperately wants him to sort his life out; and between Hamed and his younger sister Amina, who's wise beyond her years.
It's difficult to highlight any stand-out performances in such a strong cast. Each character feels distinctive in their own way. Horgan's Romeo, who was shunted around between foster homes with his sister, is searching for something real. After fancying Rosaline (an amusing Shakespeare reference), he's teased for now fancying a bloke. But Horgan conveying Romeo's desperate desire to love and be loved feels authentic and in tune with what's happening now.
Photo credit: Craig Fuller
Anish Roy's Hamed is sensitive and beautiful. He's so torn between wanting to honour his family and religion, while at the same time longing to be with Romeo. We get a deep sense of his pain and the impossibility of pleasing everyone as well as himself.
I love Taz Rahman's Amina, who's very witty and bouncy. She positively bristles with energy and dances about the stage with nervous concern about her brother. Her performance juxtaposes Dylan Morris's more measured portrayal of Grace, who has her own new family (she and Nico have a small baby called Daisy) to care for.
Photo credit: Craig Fuller
The theme of family and protecting one another runs throughout this accomplished play, from Romeo's families (his strong link to Grace, who protected him throughout his childhood, and the relationship with his mates), to Hamed's Muslim family (his father disapproves of his actions) and his wider Muslim community.
I also like Charlie Cassen as Boxer, who provides some comic physical relief with his large frame and aggressive approach. But there's depth to his characterisation, which develops over time.
Micah Loubon's Nico is solid. He pulls the threads together as the narrator, while also showing us two conflicting sides of his personality. He's a dedicated father and partner at the same time as doing shady deals that can only come to no good.
Equally, Asif Khan (whose reassuring voice I recognise immediately from his role as Akram on The Archers) conveys Imam Yusuf as a complex man, who imparts wise advice to Hamed and sees the wider picture when it comes to morality and love. And he's hilarious when telling bad Muslim jokes, such as "How does a Muslim close the door? He Islams-it."
Photo credit: Craig Fuller
The dialogue in general is superb, using language from the streets of south London that's strong, evocative, tender and heart-breaking. It has the sense of Shakespeare's lyricism, with a new layer of modernity that reflects Britain today.
At a time when there are budget cuts and plays aren't workshopped or rehearsed enough, this co-production from Sinew Productions and Slime and Pies shows what can be done if enough time is spent developing a new production.
Photo credit: Craig Fuller
I also like the contribution from movement director Theophilus O. Bailey who makes this show very fluid, the compelling and haunting soundscape by Pouya Ehsaei and sensitive lighting and a simple set in-the-round from Hugo Dodsworth. There are captions and signing that contribute to the inclusiveness of this show – but these extras don't intrude on the heart of the piece. They add to it, as you can read Horgan's wonderful poetry when you want without missing the action of this excellent production that's ultimately full of humour and sadness, and life and hope.
Romeo & Hamed runs at Riverside Studios until September 6.
Photo credits: Craig Fuller
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