‘The cast perform strongly demonstrating good chemistry and interplay’
Director and script editor Kate Allerston delivers a hard-hitting, immersive adaptation capturing the passion, violence, and urgency of Shakespeare’s tragic love story.
With the cast performing ensemble roles in the opening brawl scene, choreographed by Dan Cambridge, primary roles soon come to the fore as Lady Capulet (Kate Allerston) counsels niece Tybalt (Lucy Hilditch) whilst drawing upon the wisdom of Nurse (Katie Fry) to communicate a match with Paris (Daniel Ford) to daughter Juliet (Libby Marshall), whilst Benvolio (Melissa Hughes) and Mercutio (Kristian Lawrence) seek out their lovesick cousin Romeo (Aj Howell), with Friar Lawrence (Ryan Byrne) adding the magic and mystery to unite the two star-crossed lovers in perpetuity.
The staging, designed by Sophie Culshaw and managed by Mel Hughes, was deliberately simple and all the more effective for it. With props by Phil Sykes, a multi-purpose platform served as a dais, bed, and tomb, whilst a stepladder cleverly recreated the infamous balcony scene.
Red and blue colours carefully threaded through costumes delineate between Capulet and Montague, and was further reflected in hair and makeup, courtesy of Riverside College Theatre Hair & Makeup Team.
A well-considered selection of background music from composer, sound engineer, and producer Chirs Bastock reinforced the dramatic tension as the volume increased, whilst at a lower level it ensured there were no excessively silent pauses as we segued between scenes, and the use of a voiceover to represent the Prince was inspired.
There was good use of the available space including entering through the audience and I enjoyed how the audience were occasionally brought on board as part of the unravelling action.
Condensing a Shakespeare play to seventy minutes will always result in compromise, but a worthwhile one when it achieves its aim of opening up the bard to a wider audience, which this production does admirably. Equally, with a couple of gender changes, this production also goes to show just how adaptable Shakespeare is.
The cast perform strongly demonstrating good chemistry and interplay that bodes well as this summer tour continues.
Allerston combined Lord and Lady Capulet into one, giving us a mother with an even harder edge. Whilst Hilditch caught the irrational anger of Tybalt, Ford presented a more determined Paris.
I enjoyed Hughes’ earnest Benvolio, combining brilliantly with Lawrence’s Mercutio as they added a certain playfulness to their scenes which worked particularly well. The Queen Maab speech was cleverly choreographed, although I would have preferred a slightly darker tone.
Fry dialled down the usual over the top caricature to present a stronger, more believable Nurse which I appreciated, and Byrne’s Friar Lawrence was similarly recognisable in a well-rounded performance.
Howell’s Romeo was suitably full of angst and whilst occasionally a little overwrought, he certainly caught the spirit of a young man prone to love and anger.
Marshall served up Juliet with a northern twang, wonderfully capturing the naïve childishness and precociousness of a pre-teen girl in a strong performance.
A Place for Us is a multi-award-winning Northwest based Theatre company, working across the UK, committed to producing high quality, inclusive and accessible performances that engage and inspire audiences of all ages.
Romeo & Juliet is part of their Shakespeare Summer Tour with further details on the company and the tour at https://www.placeforus.org.uk/
Review Date: 12th July 2026
Star Rating: FOUR