Shakespeare is too often treated as something reserved for the “smart kids”. For many of us, our entire experience of Shakespeare amounts to a few compulsory weeks in Year 9 English before we leave it behind forever – a confusing whirlwind of unfamiliar language that never quite comes alive. What I admire most about Tom Healey’s production of Romeo and Juliet is that it refuses to accept that this is how Shakespeare should be experienced.
This is Shakespeare for everyone.
I attended the schools’ performance, with numerous school groups filling the theatre, and spent almost as much time watching the audience as I did the stage. What struck me was the diversity of those attending. Students from a wide range of schools across Perth filled the theatre. Yet regardless of background, there were no yawns, no glazed expressions and no restless fidgeting. Instead, students were engaged, laughing, reacting to the action and leaning into the story.
I also attended with my 10-year-old son and, despite the recommended age of 14+, found the production entirely appropriate for younger theatre-goers. He was captivated throughout, with the energetic fight scenes proving a particular favourite.
Get the kids in early. Get them watching. Get them understanding.
This is what Shakespeare was always meant to be: living theatre. Not something admired from afar, but something experienced, debated, laughed at and felt.
WAAPA’s graduating acting students, under Healey’s direction, deliver a vibrant, accessible and highly entertaining interpretation that brings Shakespeare’s most famous love story firmly into the 21st century.
From the outset, it is clear that movement will be central to the storytelling. Tyrone Earl Lraé Robinson’s choreography and movement direction are standout features, infusing the production with energy, sensuality and visual excitement. More than simply providing spectacle, the movement becomes a storytelling language in its own right. Relationships, power struggles and emotional shifts are often communicated physically before a word is spoken. The result is a production that feels constantly alive and in motion.
The dance sequences are a particular highlight, providing moments of joy, connection and visual flair that offer a welcome counterpoint to the production’s violence. Beautifully performed and seamlessly integrated into the action, they elevate the storytelling and rank among the afternoon’s most memorable moments.
Before the performance even began, a heartfelt Welcome to Country set an authentic and respectful tone for the afternoon. Rather than feeling procedural or rehearsed, it felt genuine and sincere, creating an immediate connection with the audience.
The ensemble is consistently strong, with several performances standing out.
Tom Kelly’s Mercutio is undoubtedly one of the production’s greatest assets. Taking bold risks both physically and emotionally, Kelly creates a character bursting with charisma, humour and unpredictability. His comic timing is impeccable, and his stage presence is magnetic. Even in scenes packed with talented performers, it is difficult to look away from him. Mercutio provides much of the production’s comic relief, but Kelly also ensures there is depth beneath the bravado, making the character’s fate all the more impactful.
Daniel Halmarick impresses as Benvolio and may well be the most technically accomplished performer on stage. Possessing a rich, resonant voice and exceptional clarity of speech, he handles Shakespeare’s language with confidence and ease. He has the kind of vocal authority and textual command that bodes well for a successful future on the stage.
Sarah Hindle’s Nurse is another standout. Endearing, funny and instantly recognisable, she feels less like a Shakespearean archetype and more like someone we all know. The broad Australian accent is a fun touch, helping bridge the gap between Renaissance Verona and contemporary Perth. Hindle brings warmth, humour and heart to every scene she inhabits, quickly becoming an audience favourite.
Griffin McLaughlin delivers a thoughtful Romeo, bringing emotional depth and welcome variety to a role that can sometimes become one-note. His performance balances youthful impulsiveness with genuine vulnerability and sincerity, giving the character substance beyond romantic idealism.
Holly Samaniego’s Juliet takes a little time to fully settle into the role. While her early scenes occasionally lack the spark and emotional urgency needed to fully ignite the character, she steadily grows in confidence throughout the performance. By the final act, she has won over the audience, bringing strength to Juliet’s tragic journey. The chemistry between the young lovers remains believable throughout and there are some funny scenes where they simply cannot keep their hands off each other.
Among the supporting cast, Sofia Watts deserves special mention for her portrayal of Lady Capulet. Despite being close in age to many of her fellow performers, she convincingly embodies Juliet’s mother, bringing authority, maturity and impressive vocal clarity to the role.
More significantly, the final scene lacks the emotional devastation the production has spent two hours building towards.
Throughout the play, blood packs are used symbolically. For much of the production, this visual motif works well. However, in the closing moments, the decision to rely on this symbolism rather than Juliet’s traditional knife proves less successful. Rather than heightening the tragedy, it creates a degree of theatrical distance at precisely the moment the audience most needs emotional connection.
Compounding this issue is the omission of Romeo’s final speech. Together, these choices diminish the impact of the ending. The final moments should leave the audience heartbroken. Instead, I found myself admiring the concept more than feeling the tragedy. I wasn’t reaching for a tissue; rather, I felt somewhat short-changed by a conclusion that lacked the emotional force the preceding scenes had so richly earned.
Yet these criticisms are relatively minor in the context of an otherwise impressive production.
Healey’s Romeo and Juliet understands something fundamental: Shakespeare survives not because he belongs to academics, teachers or literature students, but because his stories continue to speak to ordinary people. By prioritising clarity, accessibility, movement and a fresh look, this production throws the doors wide open and invites everyone inside. And judging by the students who filled the Heath Ledger Theatre, many were more than happy to accept the invitation.
For students encountering Shakespeare for the first time, seasoned theatre-goers and even younger audience members, this production demonstrates that these plays remain as powerful and relevant as ever. Judging by the response of the students around me – and one very enthusiastic 10-year-old theatre-goer – WAAPA’s graduating actors have ensured that Shakespeare’s spark remains very much alive.
To book tickets to Romeo and Juliet, please visit https://boxoffice.waapa.ecu.edu.au/Events/.
Photographer: Kathy Wheatley and Stephen Heath
