header image: helen murray, @helenmurraypix
words: meg hilborne, @meghillbilly
Robert Icke's play is one you shouldn't miss
I caught Romeo and Juliet at the Harold Pinter Theatre, starring Sadie Sink and Noah Jupe, and it was easily one of my most anticipated bookings since securing tickets back in November.
With Sink widely recognised for her role in Stranger Things and Jupe fresh from his performance in Hamnet, expectations were high; thankfully, they were met.
As someone who has loved Romeo and Juliet since childhood, I was eager to see how this production would handle such a familiar text. robert Icke’s direction strikes a careful balance between modernity and tradition. The set design is particularly significant, weaving the theme of time into every scene in a way that feels purposeful rather than gimmicky. Subtle updates, including the use of shopping bags and ice cream cones, bring a contemporary edge that occasionally jolts the audience, often to great effect.
Sink proves a compelling Juliet, commanding attention from the moment she appears on stage. Her presence alone feels like an event, and there is something refreshing about seeing a performer of her profile draw audiences towards Shakespeare. It did take a moment to adjust to her American accent, which is retained throughout. However, this choice ultimately works within the production’s framework, with the Capulets presented as American and the Montagues as British, reinforcing the division between the two families.
Jupe is equally impressive as Romeo, delivering a performance full of intensity and emotional clarity. It is genuinely surprising to learn this marks his West End debut, given how assured he is on stage. He captures the character’s passion, recklessness and despair with remarkable control, making him one to watch in future stage work.
Kasper Hilton-Hille nearly steals the show as Mercutio. Bursting with energy, he commands every moment he is on stage, bringing both unpredictability and humour that keeps the audience hooked. His performance injects a welcome liveliness, often drawing some of the biggest reactions of the night.
One of the production’s most intriguing elements is its exploration of time, revisiting moments and presenting alternate possibilities. It offers a genuinely fresh perspective on a story most already know, keeping the narrative engaging even when its tragic destination is inevitable.
A particularly beautiful moment comes late in the play, underscored by adrianne lenker’s ‘Not a Lot, Just Forever’. The pairing creates a quietly powerful scene that lingers.
Supporting performances from Clark Gregg as Capulet and Clare Perkins as the Nurse add further strength to the overall production. Gregg brings a rigid authority to Capulet, while Perkins offers warmth and emotional grounding.
The only drawback was the seating. From the Royal Circle, the view felt more restricted than advertised, although the use of screens ensured key moments were not entirely missed. Greater clarity when booking would have been appreciated. Overall, this is a superb revival that breathes new life into a well-worn classic.
With inventive direction and a cast that consistently elevates the material, it is absolutely one not to miss.
