The reaction from reviewers within the London theatre hosting Spider-Man actor Tom Holland’s Romeo and Juliet has not quite matched the “unprecedented” enthusiasm among spectators outside.
Holland “ravishes” and “mesmerizes” as Romeo, according to the Telegraph’s five-star review, which was the most positive one. Conversely, Holland was described as “a charisma-free zone” and labeled “absolute drivel” in the Daily Express’s one-star review.
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The Guardian described the performance as “a good one,” while Time Out stated that the actor “certainly doesn’t disgrace himself.”
Other reviewers, who found it difficult to be critical of Holland’s Romeo, described it as “fine,” “perfectly OK,” and “perfectly plausible.”
All in all, they were more excited with Francesca Amewudah-Rivers’s portrayal of Juliet, whom Andrzej Lukowski of Time Out called “great.” “She possesses a lightness that stands in stark contrast to Holland’s somber angst,” he observed.
Time Out rated the play four stars, describing the minimalist production, directed by Jamie Lloyd, as “particularly stylish radio play” and “brilliantly unsettling.” The Times characterized the radio drama as “conscientious but colorless,” which failed to impress them.
Critic Clive Davis gave Holland three stars, describing him as “quiet, fresh-faced, and sensitive”. “In the initial scenes, he truly persuades you that he’s a youth lost at sea, poised to surrender to a fateful romance,” the author remarked.
While she found “much to admire,” she ultimately concluded that “the play’s tragic impact is diminished by the intentional understatement of emotion.” A production described by Variety’s David Benedict as “fiercely stripped-down,” lacking “the exuberance of love and youth,” failed to resonate with him.
Benedict claimed that the play’s rhythm and significance are disrupted by the sluggish pacing, which hinders the drama and the majority of the characters. “The exception to all this is Juliet…”Holland doesn’t have the same stage presence, though. He portrays a very realistic Romeo who is becoming more and more in love, yet he emotes instead of evokes feelings.”
Tim Bano of the Independent noted that Holland’s performance “falls flat” in another place. Holland approaches, a camera tracking him from behind the scenes. He’s mumbling, crying, and depressed. The youngster wearing the tight white vest is a really depressed boy, Bano wrote.
Lloyd’s productions have grown to be known for its use of “industrial chic” and footage captured by on-stage cameras that is projected on a large screen. “It may have been chic when Lloyd first did it, but now it seems like an obsession with ventilation ducts.”
He went on: “It would have been fantastic if it had stopped at the break. Rather, it transforms into something with declining rewards. “To be frank, the ending is somewhat underwhelming. They die dramatically, eyes shut, and earpieces removed, akin to bouncers dozing off at the stage front following a strenuous night at a warehouse party.”
He remembered the “extraordinary scenes outside the Duke of York’s Theatre, where hundreds of fans crowded behind barriers, eager for a glimpse of Holland as he made his way from the stage door to his car, waving like a monarch.” “I wish the show itself could equal this intensity,” he said, awarding two stars.
“Regrettably, it’s a dismally inert event that manages to be simultaneously exaggerated and lackluster.”
It is important to note that none of the actors—Holland, who does a fine job—Francesca Amewudah-Rivers, who plays Juliet, who does a better job than fine—or the supporting cast are to blame for this. Instead, the staging, which is gimmicky and oppressively dour, is the real problem.
Baz Bamigboye of Deadline also talked about the “memorable” throng who gathered outside to see Holland with girlfriend Zendaya.
Regarding the production, he expressed a lack of enthusiasm, calling the British actor “a perfectly OK Jack-the-lad Romeo.” However, the 13-year-old daughter of a friend “adored all of it”. The issue is that this style of performance is likely to appeal to younger audiences. “A new audience,” he said in closing.
“They have no desire to endure stodgy, conventional Bard productions. For youthful audiences to continue attending, the theatre must now thrill them.”They desire Lloyd’s dazzling, brilliant rawness.”
The London production’s star power will be matched by a new Broadway version starring Kit Connor from Heartstopper and Rachel Zegler from West Side Story, which will premiere in September. The teaser for the New York production, which features music by Jack Antonoff, Taylor Swift’s producer, was unveiled on Thursday.
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