Romeo and Julie at the National Theatre

Playwright Gary Owen’s previous works, such as Iphegenia in Splott and The Cherry Orchard, shared the concept of reworking certain themes and transporting the story to Wales to make it relevant for contemporary audiences. The same can be said about his new play, Romeo and Julie, which sees the return of Owen and director Rachel O’Riordan at the National Theatre. 

Romeo (Callum Scott Howells) is a single dad who lives in Cardiff with his alcoholic mother, Barb (Catrin Aaron). He encounters Julie (Rosie Sheehy), who has lived a few streets away all of her life, but whom he’s never met before. They come from two different worlds: he is out-of-work and has a baby to look after, she dreams of studying at Cambridge and becoming the next Stephen Hawking. Further on in the plot, they fall in love, but Julie’s parents are fearful that Romeo could distract Julie from getting into university.

If the story could sound slightly predictable, Owen’s intelligent writing gives it a fresh turn, achieving a perfect balance between humour, sweetness and drama that is reminiscent of romantic comedies. During the second act, in particular, often unsure of where the next scene is going to take us, we experience the same piercing uncertainty that Julie feels when facing a life-changing choice. Owen maintains the spirit of Shakespeare’s play and adds pressing social issues, such as the inequality in an educational system that supports privileged individuals but ignores people like Romeo. It’s subtly suggested that the male protagonist isn’t afforded the opportunity to achieve greatness simply because he belongs to a community plagued by social injustice.

A dialogue between Julie and her father, Col (Paul Brennen), where she recounts how, during the interview at Cambridge, a fellow applicant stopped talking to her because of the school Julie attended, is particularly striking: “And you think I should go there? And become one of them?” Julie asks. This cold treatment should come as no surprise, given the fragmented world we live in. Julie’s mother alludes to the same in a beautifully written monologue where she criticises her millionaire employer for not caring about his patients. 

The mostly bare stage on which director Rachel O’Riordan places the actors has neon lights hanging from the ceiling, depicting the galaxy that Julie often refers to. Each scene is followed by a brief interlude that sees the actors moving across the space, their pace dictated by music; it’s a brilliant technique that enhances the rhythm of the story. Sheehy and Scott Howells as the leads are moving, but also disarmingly amusing: Romeo is responsible for the bitterly funny lines, and Howells delivers them with contagious humour. Brennen and Reynolds as Julie’s parents are equally touching, whilst Aaron as Barb finds the right mix of recklessness and hilarity, even if her character could have been explored further. 

Romeo and Julie delivers a story that is never burdened by the questions it asks, and that surprisingly grows on us after the lights in the theatre have gone down.  

Viola Pellegrini
Photos: Marc Brenner

Romeo and Julie is at the National Theatre from 18^th February until 1^st April 2023. For further information or to book visit the theatre’s website here.