Bell Shakespeare | Review by Edith Baggoley
Modern Adaptation Revitalises Star-Cross’d Lovers’ Tale
23 September 2025
A Shakespearean classic that needs no introduction, Bell Shakespeare’s Romeo and Juliet has begun its Australian tour with a week-long stint at the Canberra Theatre Centre, and is a formidable and fresh adaptation. The story of two young lovers, whose affection for each other is forbidden due to their families’ ongoing feud, is given a more contemporary look and feel, which aligns with Bell Shakespeare’s record of bringing the Bard’s work to modern contexts, and breaks down the misconception that his work is something that only elite theatre fans can understand or enjoy.
Peter Evans’ clever direction revitalised the classic story, bringing forth the more untouched aspects. The “divide” between the two families, the Montagues and Capulets, was communicated well by effective blocking in conjunction with Anna Tregloan’s set design. Tregloan was also responsible for the costume design, which moved beautifully with the actors (particularly during the Capulet’s ball). Thomas Royce-Hampton’s fight direction was electric, and did the iconic Shakespearean sword fights justice.
The cast was framed brilliantly by Benjamin Cisterne’s dynamic lighting design, which set the tone for each scene with great accuracy alongside Max Lyandvert’s composition and sound design. Occasionally the music started off a bit too quiet, which initially left me wondering if the sound was a theatre patron’s phone going off or a part of the performance, but otherwise Lyandvert’s composition swelled and thrived in the more emotion-packed scenes. However, one sound/directional choice that had unclear dramatic motives was actress Britany Santariga’s brief vocal performance over the top of the soundtrack. Santariga’s vocalisations were beautiful and added a foreboding energy to the scenes they featured in, however they only occurred about five times in quick succession at the top of the second half of the show. This confusion of “why now?” undermined the dramatic effect, leaving me wishing they utilised it more, or removed it altogether.
Ryan Hodson was great in the role of Romeo, boyish and affectionate in nature, but able to transition to a more aggressive and angsty tone when the text called for it, creating a well rounded protagonist whose actions — however rash — had a heart behind them. Madeline Li complimented him well as Juliet whilst also holding her own with a passionate performance, her final scenes and monologues feeling like they came directly from the heart. However, at times, Li tended towards a similar performance style for most scenes and monologues that read as angrier than they needed to. An example was Juliet’s iconic monologue atop the balcony of the Capulet household, which was delivered with resentment and lacked a sense of deep yearning, providing a sense that part of her affection towards Romeo was fuelled by a desire to spite her family. James Thomasson and Britany Santariga were absolute standouts in the roles of Benvolio and Mercutio, Romeo’s close friends. Each time the pair entered the audience was assured a lively and skillful performance which brought some much-needed humour into the tragedy.
Bell Shakespeare has delivered a moving and intriguing adaptation that leaves one thinking about what it means to be loved, and just how far you would go for it.
Edith Baggoley is a current high school student studying drama and musical theatre in year 10. She has performed in youth, community and school theatre for over a decade. Edith has previously worked with Canberra Youth Theatre in The Trials as Addie, and is a part of the 2025 Young Critics.
