A Tragedy Reimagined: Romeo and Juliet at Shakespeare's Globe

Expect showdowns, cowboy hats, and gingham dresses set against the backdrop of a rustic wooden saloon. This less traditional take on the classic tale of woe is full of crowd-engaging comedic moments. The Globe’s open-air setting and interactive stage lend themselves perfectly to a production where lilting cadences and playful delivery bring a fresh, humorous edge to the tragedy.

From its opening, there is a playful energy that permeates the production. Act I sees the Capulets’ ball, where Romeo and Juliet first meet, reimagined as something of a barn party. As love blossoms amid lawlessness, the cast line dances in high-spirited swinging choreography to Lonnie Donegan’s Sail Away, Don’t You Rock Me, Daddio. The musical backdrop, composed by Grant Olding, brings country rhythms and twangs throughout the production as the band plays live from the set’s upstairs saloon window.

Following the night the young lovers meet, this immersive retelling continues with its irreverent spirit as the iconic balcony scene, in which Romeo declares his love to Juliet, by wheeling Juliet through the crowd on a makeshift platform toward Romeo on the stage. The lines between stage and audience blur delightfully.

Rawaed Asde plays Romeo with an endearingly youthful charm. He wears his heart firmly on his sleeve and delivers Shakespeare’s verse with poetic sincerity as he continues to fall for Juliet. Lola Shalam plays Juliet and performs with a bright-eyed curiosity and all of the giddiness of a teenager in love. They are a well-matched and truly likeable duo.

Jamie-Rose Monk’s portrayal of the Nurse is standout. She brings infectious humour and warmth to the role, portraying Juliet’s confidante as a woman full of affection and comic timing. Her loyalty to Juliet is evident, particularly in her role as the lovers’ messenger, and her maternal instincts shine through in lines like, “Thou wast the prettiest babe that e’er I nursed. An I might live to see thee married once, I have my wish.”

Nurse’s maternal instincts show her to be more of a mother figure than Lady Capulet herself, played by Léa de Garets, who is an outsider to Juliet’s emotional world. Lady Capulet brings elegance to the role and often glides through scenes more as a presence than a participant.

Juliet’s father, Lord Capulet is played with Irish charm by Colm Gormley as he vacillates between warmth and tyranny, a father who initially urges patience—“Let two more summers wither in their pride, / Ere we may think her ripe to be a bride”—only to later demand Juliet marry suitor Paris within days. His emotional volatility is performed with conviction.

Mercutio, played by Michael Elcock, is flamboyant, quick-witted, and irresistibly charismatic. As the life of the party and arguably the star of the show, he engages effortlessly with the audience; his sharp delivery and infectious energy are often met with echoes of laughter. This magnetic performance makes his brutal death all the more devastating.

Despite the initial lively energy, there is no hiding from the story’s inevitable sorrow. The earlier laughter of the play gives way to a sobering and sombre silence as the tragedy we know so well ends in the brutal death of Juliet and her Romeo. In another one of Holme’s creative twists, we see Mercutio and Tybalt return as ghosts whilst Romeo contemplates his own suicide in an intimate and fragile moment between the cast and the audience.

By the end of the performance, the London sky turns a blackish blue, and upon leaving the Globe, a majestic St Paul's illuminates across the river. Moments like this remind you of the true magic of Shakespeare's Globe, where tales of tragedy, love, and loss have been told for centuries.

Romeo & Juliet is running at Shakespeare's Globe until 2nd August 2025.

Tickets are £5 - £80 and are available to buy here