Romeo and Juliet Review: Should You See This Rap-Tastic Shakespeare at Belgrade Theatre?

So, you’re wondering if this *Romeo and Juliet review* for the Belgrade Theatre’s latest production is worth a read—and more importantly, if the show itself is worth your time? Stick with us as we unpack this rap and R&B-fuelled Shakespeare starring Mia Khan and Kyle Ndukuba, directed by Corey Campbell.

What’s This *Romeo and Juliet Review* All About?

Alright, let’s get cracking with this *Romeo and Juliet review*. You’ve probably heard of Shakespeare’s tragic love story—two kids from feuding families fall hard, only for it all to end in tears. This time, though, it’s not your nan’s dusty old Bard. The Belgrade Theatre in Coventry kicked off this world premiere on 21 February 2025 (running till 8 March), and it’s got a twist: rap, R&B, and a modern vibe layered over the classic text. Directed by Corey Campbell, it’s a co-production with Bristol Old Vic and Hackney Empire, and it’s touring after Coventry—Bristol from 12 March to 5 April, then Hackney Empire 23-26 April. So, what’s the fuss? This *Romeo and Juliet review* is here to tell you if it’s a banger or a bust.

The stars are Mia Khan as Juliet and Kyle Ndukuba as Romeo—fresh talents bringing the heat. The Stage’s *Romeo and Juliet review* calls it an “ambitious, rap-fuelled reimagining,” and they’re not wrong—it’s bold, loud, and packed with passion. But does it work? Let’s dive in and see if this is the theatre trip you’ve been waiting for.

The Story: What’s Going Down in This *Romeo and Juliet Review*?

So, you’re in the Belgrade Theatre—nice spot in Coventry, seats about 900, proper community vibe. The lights dip, and bam, you’re hit with a modern Verona that feels like it’s just down the road. This *Romeo and Juliet review* starts with the stage buzzing—screens flashing pics of Nigel Farage and Priti Patel, hinting at today’s political scraps. The Montagues and Capulets aren’t just families here; they’re rival political crews vying for power, and you’re even asked to vote via QR code on who should win. Cool idea, right?

Enter Kyle Ndukuba as Romeo—newbie on the scene, fresh from drama school, oozing energy. He’s all swagger and charm, spitting Shakespeare like it’s second nature. Then there’s Mia Khan as Juliet, fierce and fiery, belting out lines and songs with a voice that could stop traffic. Their families are at each other’s throats, but these two lock eyes and it’s game on—love, lust, the works. The plot’s the same old Romeo and Juliet you know: secret romance, a mate (Mercutio, played by Dillon Scott-Lewis) gets stabbed, revenge spirals, and it all ends in the crypt. But this *Romeo and Juliet review* notes the twist—rap battles and soulful tracks break up the iambic pentameter, giving it a 2025 edge.

What’s It Saying? Themes in This *Romeo and Juliet Review*

Now, let’s get into the guts of this *Romeo and Juliet review*—what’s it all about beyond the snogging and swordplay? Love’s the obvious one, and you’ll feel it crackle between Romeo and Juliet, even if it’s more shouty than smouldering at times. But there’s more—division’s a biggie. Those screens at the start? They’re not just decoration. This Verona’s split like Brexit Britain, and the Montague-Capulet beef feels like a political slugfest. You’ll catch nods to today’s tribal rows, making you think about how hate still messes us up.

Then there’s youth—raw, reckless, and loud. This *Romeo and Juliet review* loves how it captures that teenage vibe, all passion and no brakes. The rap and R&B (courtesy of That’s a Rap and A Class) amplify it—think Stormzy meets Shakespeare, with beats dropping as hard as the bodies. There’s a whiff of tragedy too, not just in the deaths but in how these kids are trapped by their elders’ mess. It’s not preachy, though—you’ll be too busy vibing to the tunes to feel lectured.

The Characters: Who’s Who in This *Romeo and Juliet Review*?

Let’s chat about the stars, because this *Romeo and Juliet review* hinges on them. Kyle Ndukuba’s Romeo is a livewire—bounding about, full of lad-ish charm. The Stage says he “overspills with energy,” and you’ll see it—he’s like a puppy who’s just spotted Juliet’s balcony. He nails the Bard’s words too, making them sound natural, not posh. Mia Khan’s Juliet matches him blow for blow—she’s “emphatic,” says The Stage, and you’ll feel her fire when she’s rapping or raging at her dad. Their chemistry? It’s there, but this *Romeo and Juliet review* reckons it’s more mates than lovers—less heat, more hype.

The supporting crew’s ace too. Dillon Scott-Lewis as Mercutio is a standout—wild and witty, stealing scenes till he’s gutted. Natasha Lewis as the Nurse is a laugh, all gossip and giggles, while Andre Antonio’s Benvolio brings some calm before the storm. Asheq Akhtar’s Lord Capulet is properly menacing—new to the stage, but you’d never guess. Everyone’s big and bold, which fits the rap vibe, but this *Romeo and Juliet review* notes it can drown out the quieter bits.

The Stage: What’s It Look Like?

Right, picture the Belgrade’s main stage—big but cosy, perfect for this *Romeo and Juliet review*. The set’s by Simon Kenny, and it’s minimal but clever—think giant mobile phone screens wheeled about, flashing plot recaps or words like “VENGEANCE” in shouty caps. Costumes mix modern gear with weird period vibes—uniforms that don’t quite pin down when or where we are. It’s a bit muddy, this *Romeo and Juliet review* admits, but it keeps your eyes busy.

Corey Campbell’s directing it, and he’s gone all out—loud mics, big gestures, rap breaks that hit like a club night. The Stage calls it “performed with passion,” and you’ll feel that energy—it’s in your face from the off. Lighting’s stark, sound’s thumping (A Class on the beats), and it’s a sensory overload. Sometimes it’s too much—this *Romeo and Juliet review* wonders if less noise might’ve let the love shine—but it’s never dull.

The Acting: Are They Any Good?

This *Romeo and Juliet review* can’t skip the performances—they’re the heart of it. Kyle Ndukuba’s a revelation—first gig out of LAMDA, and he’s owning it. You’ll love his bounce and how he makes Shakespeare sound like a mate’s chat. Mia Khan’s just as fierce—her voice soars in the songs, and she’s got a presence that fills the room. They’re fast, though—lines fly at you, and this *Romeo and Juliet review* agrees with The Stage that it can feel rushed, flattening some nuance.

The rest? Top-notch. Scott-Lewis’s Mercutio is a firecracker—funny till he’s not. Lewis’s Nurse is a hoot, and Antonio’s Benvolio holds it together. Akhtar’s Capulet growls like a pro. They’re all in, giving it welly, and you’ll be swept along. Could use more chill moments, but this *Romeo and Juliet review* says they’re a cracking bunch.

The Techy Bits: What’s the Gimmick?

Here’s where this *Romeo and Juliet review* gets funky—rap and R&B woven into the text. That’s a Rap’s lyrics and A Class’s music bring the noise—think soulful hooks and spitting bars between Shakespeare’s lines. You’ll hear it kick off with a political rap, then slide into Juliet’s solos or Mercutio’s rants. The screens add recaps or slogans—handy if you’re lost, bit odd if you’re not. It’s bold, and this *Romeo and Juliet review* digs how it bridges old and new, even if it doesn’t always gel.

How’s It Feel?

Get ready for a ride—this *Romeo and Juliet review* promises that. First half’s a mixed bag—loud, chaotic, a bit shouty. You’ll laugh at the Nurse, cheer Romeo’s antics, but it’s full-on—like a gig, not a play. Post-interval, it darkens—Mercutio’s death, the lovers’ spiral—and you’ll feel the weight. The Stage says it “delivers the darkness with conviction,” and you’ll agree; it’s raw and real by the end. Not a tearjerker, but you’ll leave buzzing, maybe a tad knackered.

Is It Proper Shakespeare?

This *Romeo and Juliet review* tackles the big question—it’s Shakespeare, but with bells on. The text’s intact—pentameter and all—but the rap adds a layer. The political spin’s loose (Farage and Patel don’t quite fit), but it’s a nod to now. Relevant? Oh yeah—gang vibes, young love, power games—it’s 2025 through a 1590s lens. You’ll learn a bit, feel a lot, and this *Romeo and Juliet review* says it’s true enough to count.

The Good and Bad: What’s the Verdict?

Pros for this *Romeo and Juliet review*: it’s ambitious, fun, and the cast’s passion leaps off the stage. Ndukuba and Khan are stars in the making, and the music’s a blast. Cons? It’s loud—too loud sometimes—and the concept’s messy. The Stage notes a “bumpy start,” and you’ll feel that early chaos. Could trim an hour (it’s three!), but this *Romeo and Juliet review* reckons the energy’s worth it.

Should You Go? Final *Romeo and Juliet Review* Thoughts

Here’s the bottom line of this *Romeo and Juliet review*: if you’re up for a wild, modern Shakespeare with rap and heart, get to the Belgrade by 8 March 2025—or catch it on tour. It’s not perfect—bit long, bit scrappy—but it’s a vibe. Tickets start at £15 (schools and under-26s cheaper), and this *Romeo and Juliet review* says it’s a cracking night out for anyone who likes their classics with a twist. Go on, give it a whirl—you’ll be talking about it after.