Review of ‘Romeo and Juliet’ (2025 Globe): “Wild West reimagining turns lovers tragedy into a holy-cow extravaganza”

Shakespeare’s Globe hosts this cowboy-themed makeover on the Bard’s timeless romance. Guillermo Nazara shares his views on the show, to let us know if de-parting from the material’s original looks is, in this case, such sweet sorrow.

“For never was a story of more woe than this of Juliet and her Romeo.” Someone involved with this production may disagree with that statement. Sure, there will be mishap. And rest assured that they will die in the end (don’t be pretend you didn’t know). But you’ll be surprised by how much you will be laughing. And despite some unexpected giggles from undesired audience members (a subject worthy of a separate article), you will also be surprised by how much you’ll enjoy it.

The Verona lovers go West (sorry, I couldn’t hold it any longer) in this latest arrival of Shakespeare’s signature romance. Swapping swords for pistols and ruffles for cowboy hats, this new take on the classic tale, put together under Sean Holmes’s vision, hits the bullseye through a people-pleasing approach that’s nonetheless likely to satisfy even the Bard’s most diehard groupies.

Though in some way similar to other comicalized reinterpretations recently featured in the London scene (such as The Massive Tragedy of Madame Bovary), Holmes’s approach however takes one step further – not in terms of humor but complexity. You will be roaring from a good part of Act One. Yet, his ability to cut the jest instantly and twist the atmosphere completely around is uncanny — inundating the room with grief-stricken silence as viewers delve into the unfortunate turn of events the plot goes through.

With a few symbolic choices that effectively enhance the spiritual layering of the piece, the whole concoction comes across as a fresh and compelling endeavor. It doesn’t need to push hard to win the viewer over — and from then on, its grip remains firm for nearly the entire journey.

Each element is well-balanced and measured almost perfectly. Its generally droll vibe doesn’t deprive it of pathos and poignancy. And so, the show’s meandering tone reinforces Shakespeare’s resonance by reminding us of life’s fickle nature — where the most nonsensical changes are actually the ones that make the most sense.

A distinct mention comes in the form of the production’s underscore. Beyond its yeehaw’ed dance sections, accompanied by the most deliciously stupid choreography, Grant Olding’s incidental music does an excellent job of accentuating emotion — conveyed through subtle, narrative-driven motifs that accompany the action smoothly without ever overlapping it.

The company serves Holmes’s creative intentions to a fulfilling degree. Their dexterity may have not been distributed evenly, but the stamina, rapport, and chemistry they profess altogether compensates for those shortages well enough.

Lola Shalam plays a charming and sympathetic Juliet by exuding organic humorousness, which gradually transitions into raw dramatism. Rawaed Asde, on the other hand, portrays a charismatic Romeo through his slightly volatile version of the character. However, it’s Calum Callaghan who earns the highest praise, stealing every scene through his imposing presence, as well as the visceral forcefulness he gives to the role of Tybalt.

Usually, you wouldn’t hope for a chuckle (let alone, a raucous laugh) when you attend a performance of Romeo and Juliet. That may be, precisely, the key to this production’s appeal. Hugely entertaining, and somehow modernized without betraying the Bard’s original text, this Westernized revival proudly flaunts its hat while also delivering the cattle. You may not exclaim “forswear sight, for I never saw true comedy till this night.” But there’s a strong chance you won’t stand far from that statement.

All pictures credit to Tristram Kenton.

Romeo and Juliet plays at London’s Shakespeare’s Globe until 2 August. Tickets are available on the following link.

By Guillermo Nazara