The tepid star-crossed lovers: Romeo & Juliet review

By Patrick Marmion for the Daily Mail

Published: 18:22 EST, 24 September 2015 | Updated: 20:04 EST, 24 September 2015

Romeo & Juliet (Crucible Theatre, Sheffield)

Verdict: Only periodic chemistry

Rating:

Romeos and Juliets really need to blaze with desire. There’s not much chance of that here, though, with Freddie (son of Edward) Fox and young Welsh actress Morfydd Clark playing the title roles.

Fox is a lively actor, offering bright sparks, Clark is perfectly sweet and charming. But in terms of incendiary passion, a slow burn. 

He is an explosive extrovert; she, a fireproof introvert. They can hardly keep their hands on each other. And yet both offer something.

Classic romance: Freddie Fox is an explosive extrovert Romeo to Morfydd Clark's fireproof introvert Juliet 

Classic romance: Freddie Fox is an explosive extrovert Romeo to Morfydd Clark's fireproof introvert Juliet 

Fox has diction, old-school and clear as a chapel bell, making some of Shakespeare’s sweetest verse chime anew. He’s pretty, too, of course. 

Meanwhile, alabaster-skinned Clark looks down from her famous balcony unsure of her feelings. Not a shrinking violet, but hesitant. And this is not a play giving room for doubt.

If Fox seems worn out by the end, Clark grows in stature, rising to an assured death scene.

Perhaps director Jonathan Humphreys could have given them more confidence to go at each other, but his production doesn’t find that assurance; and it’s never clear where it’s set, either in time (the Sixties?) or place.

There is much to enjoy in the Sheffield production of Romeo & Julie, with moments of real sweetness, but a blazing, heart-rending tragedy of doomed love it is not, says Patrick Marmion

There is much to enjoy in the Sheffield production of Romeo & Julie, with moments of real sweetness, but a blazing, heart-rending tragedy of doomed love it is not, says Patrick Marmion

Every character has a different accent, and Hannah Clark’s design of corrugated iron walls overlooking a plywood piazza is versatile but placeless. 

It works best as a warehouse rave venue for the big party early on, but draws a blank for the vitally atmospheric church scenes.

The one person who really does know what she’s about is Rachel Lumberg: a big, standout actress giving a big, standout performance as Juliet’s nurse. 

Always fondly wittering and submerged in character, she sparks up a fag to catch her breath. Hugely warm and popular, I reckon TV will snap her up soon.

There is much to enjoy here, with moments of real sweetness. But a blazing, heart-rending tragedy of doomed love it is not. 

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