London's highly-anticipated production of "Romeo & Juliet" directed by Jamie Lloyd and starring Tom Holland has garnered immense attention and sold out tickets within a mere two hours. However, despite the star power and excitement, the production seems to lack the heat and intensity that one would expect from Shakespeare's classic tale of young love and feuding families.

One major strategic mistake made by the director is the decision to mute the action, with much of the play being performed in whispers and mumbles. At times, even with microphones, the actors are barely audible, stripping away the zest, danger, and romance that are central to the story. Instead, a prevailing sense of melancholy replaces the urgency and dramatic tension.

Visually, the production offers a minimalist aesthetic with the stage adorned only with monochrome trimmings and the actors dressed uniformly in black garb. The inclusion of microphone stands and the blaring of hardcore club music initially gives the impression of a contemporary and dynamic interpretation, much like Lloyd's previous success with "Cyrano de Bergerac." However, as the play unfolds, the beats are replaced with an industrial hum, altering the tempo and tone altogether.

The biggest casualty of this approach is Tom Holland's portrayal of Romeo. For the most part, his performance is subdued and underwhelming, rendering it difficult to understand why Juliet would go to such lengths for him. Only in a couple of moments does Holland burst with energy, but these instances feel forced. While Holland showcases his sweetness and physicality, one can't help but feel that he possesses the potential for a more captivating Romeo.

On the other hand, Francesca Amewudah-Rivers delivers a captivating performance as Juliet. Despite facing online racial abuse when cast, she triumphantly rises above, bringing a spiky, self-aware, and fiercely independent portrayal to the production. Her chemistry with Tomiwa Edun as her father, Capulet, is particularly compelling, depicting their tense relationship tainted by his arranged marriage plans and her resistance.

Supporting actors such as Freema Agyeman as the nurse and Michael Balogun as the friar also provide excellent performances, injecting moments of humor, tragedy, and substance into the production.

Lloyd's distinct directorial style is evident with the presence of two camera operators, whose live images are projected onto a dominating screen at the rear of the stage. This innovative inclusion adds a unique dimension to the production, especially when capturing intimate close-ups of Amewudah-Rivers' emotional scenes.

In a departure from convention, key props and actions associated with the play's signature scenes, such as the balcony and swords, are removed. This shifts the focus squarely onto the emotions at play, allowing the audience to delve deeper into the characters' inner conflicts.

Despite its flaws, Lloyd's production of "Romeo & Juliet" at the Duke of York's Theatre undeniably offers a visually striking and contemplative exploration of Shakespeare's timeless tale. While some may find the lack of passionate fire a disappointment, others may appreciate the opportunity to engage with the play on a more emotional level.

Overall, this production demonstrates Lloyd's ability to create thought-provoking and visually captivating theater, even if it falls short in delivering the passionate intensity that audiences may have expected.

Cast: Tom Holland, Francesca Amewudah-Rivers, Freema Agyeman, Michael Balogun, Tomiwa Edun, Daniel Quinn-Toye, Ray Sesay, Nima Taleghani, Joshua-Alexander Williams.
Director: Jamie Lloyd
Set and costume designer: Soutra Gilmour
Lighting designer: Jon Clark
Music: Michael 'Mikey J' Asante
Sound designers: Ben and Max Ringham
Video designers and cinematographers: Nathan Amzi and Joe Ransom
Text editor: Nima Taleghani
Presented by The Jamie Lloyd Company