I mean it’s a staple. We studied it in school, I’ve seen it performed ‘traditionally’, in Heaton Park that involved a travelling M&S picnic and a good few thousand steps.

My plus 1, both in theatre-going and life, even saw it in this very theatre, the Royal Exchange, in Manchester back in 1992, and featuring Michael Sheen (wonder what happened to him…).

I’ve also seen it performed through the medium of ballet a number of times (most recently in 2019 – Theatre review: Romeo and Juliet – Moscow City Ballet) with that wonderful score by Prokofiev.

And I never tire of that tale of those star-crossed lovers, introduced to us by one William Shakespeare, especially when given a fresh perspective and respectful reading.

One reckless, impulsive, boundary-crossing instant can send shockwaves through everything you know. You are seduced, soaring high above the hate and the fury – you’re dancing to a new refrain and the chemistry is awesome. You’re willing to risk it all! It’s perfection. Just as quickly it burns out.

So what of Romeo and Juliet, directed by Nicholai La Barrie, and performed at the Royal Exchange, Manchester.

There was a wonderful collaboration between the classic and contemporary in this production. A blurring of the prose as written by our good friend The Bard, along with modern mancunian parlance as Benvolio becomes Romeo’s cuz and the rhythm and execution of the lines straddled a fine line between what I appreciate from the traditional, and a delivery which filled me with equal joy that wouldn’t look out of place in a domestic scene in Coronation Street (Lady Capulet for the next landlady of the Rovers Return).

Oh and those accents. Those beautiful accents. Let me tell you, I have never heard the word Oh expressed with so many glorious sing-song syllables. It was clear that whilst we may have technically still been in the Italian streets of Verona, the heart of the play was very much in Manchester. And all still whilst remaining faithful to the original text.

The dress was modern as was the original score. I was even won round to the new take on the Capulet Ball as Juliet’s high-octane hip-hop performance replaced one of the high entries on my ‘ride-or-die classical pieces that give me goosebumps’ list, that of Prokofiev’s, ‘Montagues and Capulets’ as the party guests joined in. Whilst a large portion of the audience accepted the invitation to dance alongside them, chipping away at that 4th wall, sadly I was unable to, given my precarious higher-seated position and inclination to trip over fresh air. Otherwise I massively would have, ok?

And this segues neatly as I turn to the ever-present, silent star of every show in the Royal Exchange, the theatre itself. Of course its glorious in-the-round nature has the bonus of inviting the audience intimately into every production performed.

I’ve felt movingly but appropriately uncomfortable as ‘Brenda’ takes a hot bath on to induce abortion on stage, in Saturday Night, Sunday Morning. I’ve been immersed into the court scene as much as one of the jury members themselves, as I sat and listened to Atticus Finch set out his stall in To Kill A Mockingbird.

And I was just as captivated last night, as the production enveloped me, both on an attentive level and for some, again on a practical level as, at times, characters address the ‘on the floor’ audience members directly.

At the Royal Exchange, a simple set is never just that, as its natural environment creates its own magic. We had the very Manchester ‘Tower of Light’ looking structure which in its central, lowered position provided the balcony to which we all know and love (and when elevated provided the most beautiful dancing, hive-like mesmerising shadows). And we had the tomb-like slab which emerged from the floor, providing backdrop to the consummation of marriage and (spoiler…) eventual death of both parties (yes, sorry, that still happens).

Reader we even had rain.

The actors, lead by Conor Glean and Shalisha James-Davis in the title roles, pitched their interpretations of their roles perfectly. I felt the vulnerability and desperation of love, particularly in Glean’s performance, where the endearing naivety he brought to the character, was soon superseded by a demonstration of emotions more raw and dangerous, as lust, turned to love, turned to anger, turned to grief.

Other stand-outs for me were a deliciously comedic (when called for) band of brothers double-act from David Judge (Mercutio) and Adam Fenton (Benvolio) in Romeo’s camp. Turning to Juliet’s camp, the definition of a matriarchy in the form of Kate Hampson’s Lady Capulet and on a softer level, Gemma Ryan’s Nurse, also brought light relief and joy. But of course again, when called for.

Because this is a tale of tragedy, of senseless rivalry and war. Of danger on the streets where an out of control anger and mis-judged loyalty, provide false validation for violence and destruction. And this age-old story of the Montagues and Capulets, rival houses, families, gangs is as sadly relevant today as it was when written.

Indeed as Director, Nicholai, says… 

‘The thing that excites me most about directing Romeo & Juliet is about taking this epic story and making it personal, making it feel like these characters live with you, live near you, like you really know them. The things that this story teaches us are as relevant today as it was when it was written and that no matter how tragic it is, this love story still has immense hope at its heart.’

Yes, the themes from this story are all too recognisable and prevalent in our communities, be they in Verona, Manchester or across the continents. But as our story demonstrates, each generation brings with it a fresh hope that love can evoke change and cross even the most powerful divide.

And so, this ‘love letter to Manchester’ is certainly an opportunity to be grasped, to be reminded of this. This production, as duly promised, reflects our city’s diversity, creativity and ‘ability to wear its heart on its sleeve’.

For further details, full details of the cast and crew, and to book tickets, visit https://www.royalexchange.co.uk/event/romeo-juliet/ On until 18 November 2023.