Review: Rome and Juliet at the Sydney Opera House

Review by Scott Whitmont

Doubtless, there are few who would require a synopsis of Romeo and Juliet, perhaps one of the best-known plays in history, produced by William Shakespeare when he was - arguably - at the top of his writing game. The tale of the feuding Montagues and Capulets of Verona and the tragic love story of the young lovers besotted with each other at first sight is as powerful and devastating to audiences in 2025 as it was in 1597, particularly in the hands of the Bell Shakespeare Company, whose Shakespearean reinterpretations rarely fail to impress.

Anna Tregloan’s costume and set design is minimal, with just two simple raised platforms side by side filling the stage. Clearly, the emphasis in this production is on the words and the beauty of Shakespeare’s dialogue. Under the tutelage of Voice Director Jack Starkey-Gill, its delivery is clear and accessible, even to Shakespeare neophytes. 

Masterfully directed by Peter Evans, despite its tragedy, the production manages to be imbued with humour, particular in the first half. This provides unexpected and welcome relief to the growing drama and is particularly personified by Merridy Eastman in the character of Juliet’s “Nurse”, whose delivery and expressions elicit regular audience smiles and chuckles. She leaves no doubt that she is a skilled comic with perfect timing, whilst showing equal mastery in her delivery of deep sorrow.

Impassioned and tempestuous, Ryan Hodson as Romeo delivers a nuanced performance that matches the impressive emotional range and power of Madeline Li’s Juliet. Their dramatic crescendos are both immersive and stirring, particularly, for example, when Romeo learns of his banishment from Verona or Juliet is led to believe that Romeo has been killed by her cousin, the rather ferocious Tybalt (Tom Matthews).

One can only imagine the number of rehearsed hours that went into the choreography of this fight scene that was performed realistically with impressive precision. So too was the charming masquerade ballroom dance scene. Kudos to Choreographer Simone Sault and Associate Fight Director, Tom Royce-Hampton. Composer Max Lyandvert’s beautiful music added further to the audience’s pleasure.

Brittany Santariga as Mercutio and James Thomasson as Benvolio are perfect foils for Romeo. With faultless timing, their scenes are often charming and engaging. In her dual role, also as the Prince of Verona, Santariga exudes authority and just the right amount of gravitas.

It is not surprising that the ensemble cast of 10 embody their characters so expertly and with such perfect timing and meaning, for the Sydney season comes at the end of a country-wide tour that has been on the road since August and has spanned 26 towns and cities from Canberra to the Margaret River and from Hobart to Rockhampton. Determined to bring the beauty of Shakespeare’s words to the maximum number of Australians, the company’s clear energy and fortitude is laudable.

No matter the humour or the love or just how much we’d like to see a different outcome, we cannot change the inevitability of the play’s tragic end. As the Prince of Verona says in the play’s final words, “For never was a story of more woe, than this of Juliet and her Romeo.”

In stark contrast, Bell Shakespeare’s story is far from one of “woe”. Celebrating their 35th anniversary this week, with Romeo and Juliet, they are to be congratulated on yet another triumph. (playing until December 7th)

Image Credit: Brett Boardman