Romeo & Juliet – Brighton Open Air Theatre

Written by: William Shakespeare

Produced and performed by: The Duke’s Theatre Company

Though the heatwave is tailing off and the clouds have rolled in, there’s still a balmy midsummer atmosphere at the Brighton Open Air Theatre, making it, as ever, the perfect setting for some outdoor Shakespeare. The Duke’s Theatre Company are in town presenting their slick interpretation of Romeo and Juliet. This six-person group of actors give exuberant lucidity, humour and heart to the text with lots of impressive character-swapping, singing, dancing and writhing death scenes.

The two star-crossed lovers at the centre of our story are exactly as you would want them to be. Romeo (played by Alfie Jameson) is floppy-haired, wide-eyed, excitable and callow. He jumps headfirst into an intense love affair, acting on adolescent impulse, weeping “womanish tears” when he doesn’t get his way. There’s a real endearing ingenuousness to the performance. The object of his affection, Juliet, is played by Molly Marr Johnson with a similar impulsive energy that matches well with her Romeo. She appears as a spoiled child, trapped in her tower room, battling her mother’s plans and plotting with her nurse, aching to escape and be with her new lover.

As often is the way with these small company productions, at times the minor characters steal the show. Joe Carrick (who also plays Mercutio) treats us to a gloriously camp Lady Capulet, strutting the stage like a drag queen. The only confusing thing about this particular characterisation is why they didn’t give him a wig. Perhaps they misplaced it? But it wouldn’t really be Shakespeare without a bit of bawdy gender-swapping so it’s very welcome. As is Joshua Murara’s West Country friar who straddles the line between bumbling and Machiavellian.

Moments of humour are peppered throughout at an appropriate rate for a tragedy – enough to break the tension but not so much that it trivialises all the pain and emotion. This is an interpretation that sticks wholly to the text. There are no ad-libbed asides or cheeky modern updates. The costumes are period dress, with the men looking very dashing in their buckled boots and embroidered clanware, with a clear distinction between the Montagues and Capulets. The fight scenes are well choreographed with dynamic sword-fighting and some very convincing, convulsing deaths.

The actors are amplified with microphones strapped to their faces, which means their every word is clearly heard. Sometimes at BOAT voices can get lost in the wind, so this new technological addition is a game changer. It may have been made necessary by the accompanying original soundtrack, composed by Rob Millett, which is often loud, either pounding with bassy heartbeats or swelling with romantic ecstasy. It’s a rather cinematic approach, with every emotion punctuated by a musical cue, and it might not please those who prefer a traditional Shakespeare production complete with pipes and lutes. But on the whole, this Romeo and Juliet is a very successful, balanced enterprise, the perfect length and breadth for a summer’s evening at the always delightful BOAT.

Reviewed on 29th May. Runs until 31st May 2026