Writer: George Bootle
Director: Lukas Rimkus
Shakespeare’s iconic tale of two unlikely lovers has seen countless adaptations. Yet, writer George Bootle offers a fresh, queer twist.
Star-Cross*d is a fly-on-the-wall exposé taking the audience behind the scenes of the classic Romeo and Juliet narrative to provide an intriguing alternative explanation to the well-loved plot.
Comedic and intentionally chaotic, Bootle, alongside director Lukas Rimkus, displays innovative theatre-making using levels and a multi-purpose set to let the age-old tale unfold in the background whilst spotlighting their contemporary take. Expect shadow theatre, original music, and bizarre ensemble movement scenes, and do not be too disappointed when only half of the infamous balcony soliloquy is shown as Bootle saves time for the real drama to play out.
Opening the play with an unexpected *F bomb* from Grandma, the BootleBird Theatre Company’s silliness brings joy to the audience amidst the tragedy. Charlie Patterson, playing Tybalt, does this particularly well, offsetting his hyper-masculine vocal and physical delivery with the occasional roly-poly.
More standout comedy is delivered by Xavier Rippon and Octavia Sharman, playing servants who delay Lord and Lady Capulet from walking in on Juliet’s schemes by blocking their way with a frenzy of vigorous floor scrubbing. The cast’s teamwork is evident here, as the supporting characters enhance comedic effect by physically embodying the slippiness of the overly polished floor as they scoot across the stage. This makes for a convincingly hilarious series of events.
However, the difficulty of adapting Shakespeare does not go amiss, and Bootle’s ambitious reinterpretation occasionally stumbles over its own plot. Notably, the new agreement that Romeo and Juliet decide to marry under somewhat muddies the logic of the double homicide ending, leading to an unclear and slightly underwhelming climax.
Still, the bold imaginations of BootleBird demonstrate modern theatre-making that pushes boundaries in a refreshing and relevant way. The ensemble’s strong rapport and comedic timing injects an energy that drives an impressive pace despite the convoluted Elizabethan tongue, bringing the creatives’ ideas to life, and providing an exciting, entertaining 90 minutes.
The team should have confidence in this and develop their more unique approaches to storytelling, such as shadow theatre, choreographed movement and the multipurpose set, to honour their alternative stagecraft. With enough refinement, there is no reason why Star-Cross*d should not be projected to bigger audiences.
Runs until 2 August 2025
Camden Fringe runs until 24 August 2025
