Fun, lighthearted, earnest, goofy—these are not words that immediately spring to mind when thinking about the tragedy of Romeo and Juliet. Nevertheless, Barkly Theatre somehow manages this exact tone with their recent production.

Taking on the suave, chic, glittery charm of 1970s Melbourne, Barkly Theatre adorns the stage with pastel lights and disco settings, reminiscent of something as innocent as a primary school dance; making the play’s later violence all the more disturbing. This playfulness is enhanced by the distinctive staging of the monologue scenes, wherein actors strut onstage ominously and stand in a mysterious order (it was hard not to think of America’s Next Top Model end screens), taking turns to warn us of the advancing tragedy.

Although the props are not particularly imaginative (a lone chair and desk, like a living room space, perhaps pointing to the normative domesticity at stake in Romeo and Juliet’s romance), the mise en scene is elevated by the sound and music direction. The soundtrack is reminiscent of Trent Reznor’s work on Challengers (2024)—an all-encompassing, breathless pitter-patter of drums, a gritty synth beat, or the deafening swoop of sing-songy crescendos. Even the way it occasionally drowns out the tail-ends of lines feels intentional. It romanticises the troubles of sound-mixing as a metaphor for sheer emotion overtaking logic, symbolising the futility of words. Every time I heard music rising in the distance, I instantly perked up in my seat.

While the staging and technical elements are impressive, the stand-out feature of Barkly Theatre’s production is, of course, the cast. There are very few flat notes in the acting, and the most memorable performances are amusingly unexpected. The Nurse is hilarious, outshining every character not only in her main scenes, but also as a supporting role—often, I found myself watching her in the background, waiting for my next laugh, rather than focusing on the main action. The reimagining of Friar Lawrence as a Hawaiian-shirt-wearing, sunglass-wielding hungover uncle type is also endearingly familiar and delightful to watch. The costume choice spotlights the uniquely Melburnian revamping of the play, making the audience roar in recognition of variants of Blokey Friar Lawrence.

Speaking of costume choices, wardrobe is a brilliantly utilised detail in characterisation across the board. Juliet is just the soft-spoken, jean-wearing teenage girl she is in Shakespeare’s play (rather than the sexualised nymph portrayed in other adaptations), and Romeo a jubilant, sensitive boy in his cardigan. This innocent re-characterisation not only stays faithful to the true ethos of the original play, but also helps land the punch of the final death scene. It is a difficult feat to accomplish, making one care for the ending, after the excruciating runtime of an ordinary Romeo and Juliet production. There is a meticulous sense to the way all elements of the production are brightened and fully engaged to completely depict the heart of Romeo and Juliet. It’s refreshing to see a production of the play take its protagonists seriously.

Barkly Theatre’s adaptation of Romeo and Juliet is not only an entertaining watch, but also deeply energising and heartwarming in its devotion to the play. The script changes, sound and costume design are contemporary and thoughtful without being preachy. Much like Shakespeare’s work itself, the production is unpretentious, yet incisively clever.

Photography Credit: Kai Clews via @barklytheatre on Instagram