Flabbergast Theatre have returned to Wilton’s Music Hall, this time with a visceral reimagining of Romeo and Juliet. A thunderous, and unrelenting feat of physical theatre that carries an energy that brings something entirely fresh to Shakespeare’s tragedy.
Renowned for rejecting classic Shakespeare, this latest production from Flabbergast is fiercely modern and embraces a raw, and highly expressive way of presenting the story of star-crossed lovers, injecting a whole new level of modern storytelling into the text. From the moment the audience enters the auditorium, it’s clear that something unusual, is about to unfold. The ensemble is already on stage, shifting and murmuring with an unnerving intensity. It’s difficult to tell whether they are intoxicated, possessed, or gripped by some collective psychological rupture, but the atmosphere vibrates with a barely contained chaos, setting the tone for a production that trades convention for something far more primal and unpredictable.
Director, Henry Maynard has carved a vision that feels almost otherworldly. The feuding houses of Capulet and Montague are more like rival packs of demons, restless, prowling, and always a heartbeat from violence. In fact, there is no innocence here at all, and even the love between Romeo and Juliet feels risky and visceral, more than a romance, but something bound to end in tragedy and heartbreak.
Maynard, supported by Music Consultant, Nick Hart, has expertly dissolved the boundaries between comedy and tragedy into a whirlwind of masks, music, and madness. There is a highly energetic, and always active ensemble, part chorus, part mischief-makers, that guide the action like gleeful agents of fate, wildly spinning the lovers’ downfall with a twisted sense of play. This is underscored by a live soundscape of drumbeats, breath, and voice, creating a haunting atmosphere that feels less like a performance and more a psychedelic shamanic ritual of sound, movement, and mayhem. The performers are tight, almost ritualistic in their unity. Choreographer, Briony O’Callaghan and Movement Consultant, Matej Matejka have created movement that is poetic and precise but also gritty, unfiltered, and immersive from start to finish. The scene transitions flow perfectly, and even moments of silence feel choreographed.
Lennie Longworth delivers an utterly captivating Juliet, fiercely intelligent, emotionally grounded, and completely unafraid to take control of her own story. She offers up a performance that radiates both strength and sensitivity. She can balance vulnerability with grit, bringing a contemporary edge to a well-worn role. The scene in which Juliet learns of Tybalt’s death and Romeo’s banishment is a masterclass from Longworth. She navigates the emotional whiplash with breathtaking precision, grief, shock, love, and fury all colliding in real time. It’s utterly breathtaking, to watch how she masters the unbearable tension of a heart breaking in two directions at once. Playing opposite Longworth, Kyll Thomas-Cole brings a restless, impulsive energy to Romeo, highly charged with emotion and forever chasing the moment before it slips away. His presence is urgent and unpredictable, a young man fuelled by instinct rather than reason. Together, he and Longworth ignite the stage with a chemistry that is as volatile as it is magnetic, capturing the thrill and tragedy of love on borrowed time.
Simon Gleave’s Mercutio is a gleaming highlight, boldly camp yet razor-sharp in delivery, blending flamboyance with fierce precision. His performance crackles with charisma, balancing outrageous humour with flashes of emotional depth. He brings a finely tuned physicality and comic timing that make every moment count, but beneath the sparkle is a strength and intelligence that ground the character. It’s a Mercutio that entertains effortlessly while reminding us just how vital and dangerous he is to the world he inhabits.
Wilton’s Music Hall is the other star of the show, it feels less like a backdrop and more like a co-conspirator in the unfolding drama. Its timeworn beauty and close quarters pull the audience into the heart of the action, blurring the line between spectator and participant. The space seems to absorb the energy of the performance, as if the story is being unearthed from within its walls rather than acted out on top of them. The result is immersive, inescapable, and deeply atmospheric.
Flabbergast Theatre’s Romeo and Juliet isn’t a gentle encounter with Shakespeare, but a full-bodied experience that grabs hold and refuses to let go. It’s made for those who want to feel the play in their bones, not just hear it in verse; for those who crave theatre that stirs, unsettles, and leaves a mark long after the final breath. The show runs until 21st June and tickets are available at https://wiltons.org.uk/whats-on/romeo-and-juliet.
Reviewer: Alan Stuart Malin
Reviewed: 11th June 2025
North West End UK Rating: