This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more Romeo & Juliet with Tom Holland (Image: PH ) Ominous synths rumble. The theatre blacks out.
The fans shriek. Out of the shadows emerge a murky bare stage and microphone stands before a looming face on a huge screen starts the prologue to the timeless tragic tale of teenage star-crossed lovers. Welcome to Jamie Lloyd Does Shakespeare With Bells, Whistles and the Kitchen Sink (but precious few violent delights).
As always, there's a major star (Spider-Man's Tom Holland), dark and gloomy street clothing, even gloomier lighting, lots of handheld cameras and projections (when the actual actors are, y'know, right there ), and too much action happening on stage but obscured or off-stage altogether. The Capulet party is live-streamed from the theatre foyer while Romeo's Mantuan exile takes place on the roof. The stripping away of stuffy theatrical conventions thrilled in Lloyd's extraordinary Cyrano with James McAvoy and just about carried his Sunset Boulevard with Nicole Scherzinger (although I could have lived without the Andrew Lloyd Webber cardboard cut-out).
But rather like the Matrix films, any originality and invigorating clarity of vision has become increasingly mired in over-thought, overblown over-complication as concept suffocates content. function loadOvpScript(){let el=document.createElement('script');el.
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