Review: Mercutio, Lion and Unicorn Theatre

Sink or Swim Theatre Company’s production of Mercutio takes the familiar story and characters of Shakespeare’s Romeo and Juliet and refocuses them through a modern lens. Tackling domestic violence, queer love, and the reality of the working-class, Mercutio redirects the Capulet versus Montague feud through the perspective of Romeo’s best friend, welcoming audiences into the less glamorous side of fair Verona.

The show is written and directed by Connor Monroe and Jake Rory, who play Mercutio and Romeo respectively. Mercutio is every bit the friend who tricks everyone into looking away, so they don’t examine him too closely. He’s presented as entertaining, just like his original counterpart, but this production elevates him beyond that. Audiences are introduced to his inner turmoil, his determinations, his deep-rooted love for his mother. It’s very much a love letter to the character.

Reframing the original setting of Romeo and Juliet into a modern working class English council estate really benefits this perspective. A core appeal of this production is how relatable the characters feel, with each being excellently cast and appropriately decked out in 2000s streetwear. It really helps audiences ground themselves in the ultra-modern setting.

Not to worry if your Shakespeare isn’t up to scratch — the dialogue is only occasionally intercut with original lines from the play, which works in its favour to make the performance accessible.

For such a small cast, each actor really carries their weight. As Mercutio’s mother, Rose, Ayana Gallagher shines; her acting is understated yet deeply empathetic. Callum Macleod is quietly unnerving as Wayne, Mercutio’s stepfather. Sean Argue’s Tybalt – now a shaven-headed drug dealer – is like any guy you’d meet down a back alley; easily aggravated and always a hair away from a fistfight.

Mercutio and Romeo benefit from their real-life counterparts’ long-standing relationship. Their friendship is tangible, amplified only by the inclusion of Benvolio, played by Todd Hazeldine.

Between the surprising masks used to conceal their identities at the Capulet’s party (think disgraced British celebrities – and that’s quite a pool to pick from), the witty one-liners, and the overall very British comedic tone, Mercutio juxtaposes tragedy excellently with humour. Additionally, the fight scenes are outstanding and very well-choreographed, with the violence handled skilfully.

This is a sharply written show, with the exception of perhaps one or two scenes which linger a beat too long. There are a few practicalities which could be made a little tighter; for example, at one point, Rosemade turns the television off, but the sound didn’t stop, making for slightly distracting background noise. Some of the fight scenes suffer from restricted sightlines given the limitations of the theatre itself; audience members sitting even a row behind the first aren’t elevated enough to be able to make out what’s happening on the floor.

There’s a dance number; there’s a surprising love subplot bubbling beneath the pre-existing affair; there’s violence; there’s humour; there’s drugs – everything one should expect from a Shakespeare-inspired production. If anything, I would’ve enjoyed even more of a focus on the titular character: after countless iterations of Romeo, it’s exciting and refreshing to see another familiar character in such an unfamiliar way.

This collection of young creatives shows real promise. Ultimately, Mercutio is a show which cares deeply for its characters and is a real testament to Fringe theatre.

Written and directed by Connor Monroe & Jake Rory
Produced by Jake Jonas for Sink Or Swim Theatre Company

Mercutio plays at Lion and Unicorn Theatre until Sunday 3 August.