Romeo & Juliet is probably one of the most adapted plays in the world. From retellings on Venice Beach a la Baz Luhrmann's Romeo + Juliet, musical re-imaginings like West Side Story, or just a million tales of forbidden love (see The Lion King 2: Simba's Pride), it is a story that we know inside out. But now, bringing a fresh twist to a well-worn tale, comes Timothy Scott Bogart's Juliet & Romeo, flipping the script as well as the order of the names.
In a similar vein to Lightyear (2022), Juliet & Romeo posits itself as being a telling of the ‘real-life' story that inspired Shakespeare's play, rather than a direct adaptation of it. Nevertheless, it is in fair Verona where we lay our scene, in the early 1300s, where the Montagues and Capulets vie for power in their town. As they reckon with the oncoming force of Rome and the pope, there is only space for one family to run the show. It is at this critical moment that we meet these two households. It is also in this moment that they meet each other as Romeo (Jamie Ward) lays eyes on Juliet (Clara Rugaard), who has recently returned from years abroad at school in France. They flirt for a bit, the attraction is immediate, you know how the story goes.
Except in this iteration, the story is embedded with an all-singing, all-dancing, contemporary pop soundtrack, written and produced by the director's brother, Evan Kidd Bogart, and Justin Grey. Much like The Greatest Showman, this musical is defined by larger-than-life numbers that make sense on the radio: with romantic duets, feminist ballads, and an ensemble number at the local tavern, all making an appearance. The soundtrack bears likeness to contemporary boyband numbers, or anything produced by the likes of Max Martin or Benny Blanco, which is to say that it is decent, inoffensive pop music that will get stuck in your head. However, like the aforementioned The Greatest Showman, the film struggles to integrate these numbers well, leaving the final product feeling more like a visual album than a holistically coherent musical.
The musical numbers are shot like music videos, with singers dancing in the shadows, montages galore, and an infinite number of cuts. However, the presiding feel of the cinematography throughout the rest of the film is much more akin to a pro-shot of a play or stage musical. As such, there is an immersive quality to the film that is only enhanced by the choice to shoot on location in Verona. There are also a number of aerial shots throughout, particularly in dance and fight scenes, which are always a delight.
The location shooting, as well as being immersive, also just makes for some delightful production design, hitting a sweet point between reality and artifice that musicals dwell best in. The costume design is also fun, but its anachronistic nature (in spite of the fact that all of it is modern, from language to culture) does at times feel a bit cheap.
Aside from the sense of setting, the other strength of Bogart's adaptation is its cast. Whilst relatively unknown, there is a sensuality that strikes the perfect balance of lovelorn and lustful in the leads, who have a natural chemistry and make easy work of the musical numbers. While this version of Mercutio has less bite than many other versions, Nicholas Podany is empathetic and endearing as Romeo's adopted brother. In the ‘adult' roles are the more familiar names, with the likes of Jason Isaacs, Rebel Wilson, and Rupert Everett stepping into parental roles. Alongside them are Rupert Graves as the Prince, Dan Fogler as a very modern apothecary, and Derek Jacobi as a scheming, yet also scandalised prince. There is a real ensemble feel, which adds to the play-like feeling of the piece. There is also just a tangible sense that everyone wants to be there, and one can only imagine the fun that was had by this cast as they shot together in Italy.
However, as fun as it would have been for the cast, the result for the viewer is ultimately a light breezy ride that they'll probably forget in the years to come. If treated like a concert, the one night only nature of its UK cinema run feels apt, but when it comes to being an adaptation of one of the best loved plays of all time, it has considerably less to offer.
Juliet & Romeo is in UK cinemas for one night only on June 11
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