Theatre Review: Romeo and Juliet
Romeo and Juliet
A Mermaids Production
14/09/2025 - 15/09/2025
Directed by Lila Patterson
Produced by Kritvi Gupta
Written by William Shakespeare
Review by Mali Delargy
In playing Shakespeare’s Romeo and Juliet to the tune of an American summer, Director Lila Patterson turns a tragedy of star-crossed lovers into a fireside comedy full of short shorts and bunkbed lovers. I found myself wondering whether Romeo and Juliet can be both an epic love story and a modern meet-cute—though this weighty question may not be resolved in time for my review. In uprooting Shakespeare and re-planting his script in the same vein as She’s the Man and 10 Things I Hate About You, Patterson’s adaptation continues the trend of Americanising the early modern canon. It is well-tailored to a St Andrews audience.
I was immediately impressed by the stage and its simple yet effective backdrops, thanks to Stage Manager Max Noone. His Montague/Capulet signs, having a light shone at them when appropriate, worked to seamlessly transport his audience not just across fair Verona, but into modern day. The innovation in transforming Juliet’s balcony into a dormitory bunkbed likewise spoke to a wonderful imagination and definite competence.
I was also struck by the painstaking detail of the music and lighting (thanks to the superb execution of Technical Directors Willa Meloth and Annalise Roberts). Together, these struck accurately the light-hearted tone of what Patterson describes as ‘pop-culture consciousness’, playfully taking comedy and melodrama hand in hand.
It was, however, the strength of the cast which formed the play’s backbone. I must give special mention to the supporting actors who stole the show: to Eva Rieckewald (Mercutio) for her confident execution, Poppy Kimitris (the Nurse) for her admirable stage presence and to Geordie Coles (Friar Laurence) for his comic relief.
Despite the experienced cast, both leads (Eilidh Read as Romeo and Donna-Marie French as Juliet) were guilty of what I see as student theatre’s most prolific fault – wanton shouting, which devalues dramatic escalation. Famous lines which the audience would have taken pleasure in were swallowed. However, I was intrigued by the cast’s general speed in delivery. For a play almost entirely detached from Shakespearean custom, was this an intentional nod towards early modern performance tradition?
From here, I turn to Shakespeare’s dynamic script, which Patterson beautifully exploits. From the disco ball to the gory brawl, each aspect of her scenes is carefully considered, resulting in charming displays which were audibly enjoyed. Alongside this is Elena Bello’s beautiful and detailed costume design. Consistent and impressive throughout, her contribution towards the production’s visual draw was significant.
It was the infamous Act 5, Scene 3, which displayed Bello’s talents best. The scene was a flood of shining white light, with Juliet clothed in satin and lying on linen, the mist creeping out as petals fell from above. To everyone on stage, Juliet is dead. The tragedy progresses towards its climax. Why then, was the audience laughing? Perhaps it was the distinct silence. Up until this point, music had emotionally guided the audience through danger and comedy. Now that tragedy had returned to the play and the sensory guidance had worn thin, the audience was forced to tread the precarious gap of interpretation alone and fell the wrong way: into humour.
In her director’s note, Patterson discusses youth—‘In this period of your life, everything can feel like life or death. Every love feels like it might be your last’. This serious sentiment is expressed at the end of Patterson’s play and concurs with Shakespeare’s tragedy, and yet, Patterson’s modern adaptation has created a comedy that does not coincide with this tragedy. A stronger framework was needed to guide its conclusion; otherwise, putting the play at risk of derailing and losing its audience.
While I ruminate on the structural issues of the production, it is certainly not star-crossed. Romeo and Juliet, as a student production—as well as a lesbian one—gave me such joy that I would recommend to anyone to catch tonight’s performance. Prepare yourself for an evening of pure sensory delight.
