Star-Cross*d, The Cockpit
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It’s always fun to see how creatives find new ways to tackle Shakespeare, and that’s just what BootleBird Theatre Company‘s George Bootle has done with Star-Cross*d, where he takes the action next door to see what is really going on away from Romeo and Juliet.
We caught up with George, thankfully in the same room, along with director/ producer Lukas Rimkus, and actor Rachel Eben to find out more about this show which plays at The Cockpit on 1 and 2 August (tickets here).
What can audiences expect from the show?
Audiences can expect a fast-paced, playful reimagining of Romeo and Juliet – but not as you know it. Star-Cross*d invites you into “the room next door,” where the real chaos unfolds: scheming relatives, hidden passions, and people desperately trying to control their fate. It’s Shakespearean language with a twist, brought to life through original music, shadow theatre, and a high-energy ensemble cast. It’s a joyful clash of the classical and the contemporary.
Is Camden Fringe going to be the show’s first time on stage, or have you already performed elsewhere?
Star-Cross*d began its journey with a rehearsed reading at The Calder Bookshop & Theatre in April 2024. In January 2025, we staged a five-show run at The Golden Goose Theatre, where we tested the story with live audiences and gathered invaluable feedback. Camden Fringe marks our festival debut and the next big step in the show’s journey – with fresh energy, sharper edges, and a few surprises.
What was your inspiration behind the show?
George: Drama studies made it apparent to me that Shakespeare is a rich source of interpretation. Indeed, a seemingly limitless variety of adaptations have reimagined his plays. Therefore, if I was going to express my take on the Bard, as few playwrights can resist, it seemed a worthwhile challenge to attempt the task with originality of form: not a sequel, not a prequel, nor a different time and place. Setting a plot alongside the original occurred to me as rather daring. In that was a new idea! In format rather than story. It allowed my interpretation to tackle Shakespeare head-on.
What is it about your character that you most enjoy?
Rachel: Nurse Angelica is all heart. I enjoy how she sticks out like a sore thumb in the noble house she belongs to and in turn, those who belong to her turn her into knots. She is a force of nature, loving, mad, stressed, bewildered, headstrong and yielding and endlessly giving to a fault. An angel among men with a wicked sense of humour. She has my entire heart.
Being a fringe festival, we all know sets have to be bare minimum, how have you got around this with your set and props?
We’ve embraced the minimal set as a creative challenge rather than a limitation. It’s pushed us to think inventively about space and storytelling. Every element has multiple uses: one item might serve as a bench, then a bed, then a door. We also make full use of the venue’s structure – the tiered seating at The Cockpit, for example, becomes part of the world of the play, doubling as everything from Juliet’s balcony to a plinth in the tomb. It’s all about reimagining what’s already there and letting the audience’s imagination do the rest.
How important is audience interaction to you?
Audience interaction is absolutely central to the show. As a Shakespearean-style piece, it features plenty of direct address and asides, with characters often confiding in – or conspiring with – the audience. We use the entire space, sometimes blurring the line between performer and spectator, drawing the audience right into the world of the play. So just a friendly heads-up – if you turn up to Juliet’s wedding in white, Lady Capulet won’t let that slide.
If you had to describe your show as a meal what would it be?
A tapas platter – a little bit of everything: sweet, spicy, unexpected combinations, and perfect for sharing. It’s a feast of moments and moods that come together in one vibrant experience.
If you could perform this show anywhere in the world where would it be?
The Globe Theatre in London – performing Shakespeare-inspired work in the home of Shakespeare himself would be a dream and a wonderful nod to the play’s roots.
What’s the most valuable piece of advice you’ve received during your career, and how has it influenced your work on this show?
“Trust the audience’s imagination.” It reminded us that less can be more, especially with minimal sets and props — it’s about sparking imagination, not showing everything literally.
Thanks, dates and links
