Romeo and Juliet – Flabbergast at Wiltons Music Hall

Last Updated on February 7, 2026

A physically charged production set in a glorious, decaying aesthetic

3.5 out of 5.0 stars

Flabbergast, with a heritage of puppetry and clowning, takes this Shakespearian favourite to a new dimension in a production of Romeo and Juliet that somehow remains true to the original while setting the play in an otherworldly Verona complete with scaffold staging, glitter, and some truly fabulous makeup. It’s a visceral interpretation where sitting in the first few rows at times felt a little too immersed in the action for comfort.

There is no specific historic setting; costumes range from the clowning-inspired crinoline and wig worn by the nurse (Vyte Garriga) to a streetwise string vest and black pants worn by Romeo (Kyll Thomas-Cole). An impossibly camp Mercutio (Simon Gleave) pouts and preens his way to his death, while Nadav Burstein as Tybalt has all the anger of a northern warlord. Henry Maynard himself plays an authoritative Lord Capulet and doubles as Benvolio.

While the general action is at times overwhelming, for the most part, there’s a gentle tenderness between the two star-struck lovers. Lennie Longworth’s Juliet is a fey ingenue with a gritty inner stubbornness. Her delivery of some of Shakespeare’s best-loved lines was impeccable. Thomas-Cole’s Romeo was a good match, an idealistic youth led by instinct and searching for the perfect romance.

At times, the staging risked overshadowing the script. Simon Gleave’s Paris, hidden behind a rubber mask, struggled to make an impact; his exaggerated prosthetic teeth and pronounced lisp rendered him difficult to understand and far from the dashing suitor the role demands. It was little wonder Juliet dismissed him so decisively. Vyta Garriga’s Nurse also leaned heavily into comic relief, occasionally prioritising audience laughter over clarity of delivery. Meanwhile, the fight scenes teetered on the edge of realism, with oversized swords that at times overwhelmed the stage.

However, the production delivered several powerful and emotionally resonant moments, most notably in the love scenes between Longworth and Thomas-Cole and in the encounters each had with the perceptive and compelling Friar Lawrence, portrayed with quiet authority by Daniel Crisostomou.

With elements on stage inspired by everything from pagan rites to commedia dell’arte, this is a production of Romeo and Juliet that is accessible and relevant to a contemporary audience. Nick Hart’s haunting and ethereal music, delivered in part by those on stage and in part from recordings, drumming, and ritualistic chanting, adds to the sense of otherworldliness.

Flabbergast’s Romeo and Juliet is a thought-provoking production that works on many levels. The protagonists are the undoubted stars of the show, both convincingly cast. Lennie Longworth’s clear and bell-like singing voice enhanced her performance, while Thomas-Cole had an impulsive energy and magnetic appeal.

For me, sitting on the third row at Wilton’s, the movement (Matej Matejka) was at times intrusive rather than thought-provoking. Perhaps that comes from my own heritage – I’ve seen the seminal production of Romeo and Juliet from the Royal Ballet on multiple occasions and am more accustomed to the precise and controlled interpretation of a classical ballet. I’d also recommend sitting halfway back or even in the balcony seats for a better view of the action, which is inherent to this Romeo and Juliet.

The Flabbergast production of Romeo and Juliet runs until 21 June at Wilton’s Music Hall.

Wilton’s Music Hall
Graces Alley,
London E1 8JB

Looking for an alternative production of Romeo and Juliet? Check our review of the current Globe Theatre production

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