Theatre’s best-known love story is a play of two halves; the first bristling with egos, macho posturing and teenage emotions, the second with desperation, despair and untimely death. This turn of the century production looked good and had moments of real power and creativity, though it was sometimes hard to be convinced by some of the characters and their relationships within the story.

Lara Hardwick’s Juliet missed the joyfully impulsive naivety of one so young and needed to grow in determination and self-control as events rushed to their conclusion. As a wimpish Romeo, Adam Brown was as jerky as a marionette and his soliloquies cried out for moments of calm and reflection.

Strong support came from Sue Bartlett as Juliet’s faithful nurse, Patric Howe as the meddling Friar Laurence and Andy Thomas as the bawdy Mercutio. The fights were excellently choreographed, and the dream-like epilogue provided an unusual but haunting conclusion.

Ed Howson