| Theatr Cymru in London Acclaimed |
Romeo a Juliet |
| Theatre Cymru: Review Compilation , Sam Wanamaker Playhouse Globe Theatre , November 10, 2025 |
The name of Steffan Donnelly has been seen regularly on cast lists of productions at the Globe Theatre. In 2025 he returned to that venue of wonder in a new capacity, this time as director and artistic director. It marked a new level of accomplishment for a theatre company that has kept faith in steely fashion with its mission and founding purpose. The production went down very well. Five stars were given by West End Best Friend: “In this richly atmospheric reimagining, Verona is transplanted to Wales, its passions illuminated by the amber candlelit glow of the Sam Wanamaker Playhouse at Shakespeare’s Globe. Under Steffan Donnelly’s assured direction, Shakespeare’s tale of star-crossed lovers is infused with a new warmth, due in no small part to J. T. Jones’ supple Welsh translation, which lends the drama both immediacy and cultural resonance. “Here, Wales is not merely a backdrop but the dramatic engine. Welsh becomes the dominant tongue, with English strategically deployed to underscore the fissures between Capulet and Montague—an elegant dramaturgical gesture that gestures toward class, identity, and the stereotypes that cling to ‘Welshness’. This ambitious linguistic tapestry unfolds with remarkable naturalness and for those without Welsh, a live translation app is available. “Watching how the actors nimbly move between Welsh and English without sacrificing any meaning is deeply impressive. The cast is uniformly strong, but Isabella Colby Browne offers a standout Juliet as the brutally determined, yet fragile and naïve young woman. Opposite her, Steffan Cennydd’s Romeo brings a near-juvenile sincerity that makes the play’s tragic denouement genuinely shattering – an achievement not all productions of Romeo & Juliet can claim. “Musical direction and compositions by Dyfan Jones are also inspired, with the folky and earthen soundscapes drumming up excitement and at times, dread. When paired with the use of traditional Welsh iconography such as the Mari Lwyd, Steffan Donnelly in his direction succeeds in creating a grounded Welsh intimacy with streaks of pathos. The marriage of each element results in a production steeped in cultural texture and emotional truth. “Catherine Alexander’s movement direction, using some synchronised movement within the chorus, is particularly powerful when paired with the chaotic movement in Act 1 Scene 5; the differences between the two families could not have been laid bare more starkly. “Here, Wales is not merely a backdrop but the dramatic engine. Welsh becomes the dominant tongue, with English strategically deployed to underscore the fissures between Capulet and Montague—an elegant dramaturgical gesture that gestures toward class, identity, and the stereotypes that cling to ‘Welshness’. This ambitious linguistic tapestry unfolds with remarkable naturalness and for those without Welsh, a live translation app is available.” “...Braint oedd clywed Cymraeg yn Shakespeare’s Globe, a dwi’n gobeithio bydd mwy o Theatr Cymru yn dod i Lundain cyn hîr // It was a privilege to hear Welsh at Shakespeare’s Globe, and here’s to hoping more Theatr Cymru productions make it to London before long. Abridged, with thanks and acknowledgement, from the full review which can be read at: https://www.westendbestfriend.co.uk/news/review-romeo-a-juliet-shakespeares-globe * * * * London Theatre headed its review “this trailblazing Welsh-language production makes Shakespeare's tragedy sing anew.” “Two languages as well as households are both alike in dignity in this trailblazing take on Shakespeare's great tragedy from Theatr Cymru, which marks the first time Welsh has been heard on stage at the Globe. “It proves a perfect fit for the Sam Wanamaker, where every word reverberates clearly in the intimate, candlelit space. Romeo's Montagues speak mostly in Welsh, Juliet's Capulets mostly in English, though the characters flit between both (most touchingly when the lovers swap languages during their wedding). Audience members can follow the translation using the app Sibrwd on their phones, or just sit back and enjoy the musicality of it all. “...The production is lyrical, balletic and at times surprisingly savage. When Steffan Cynnydd's Romeo kills Tybalt (Scott Gutteridge) it's with cold-blooded ferocity, not the near-accident we're often given (credit to fight director Ruth Cooper-Brown), while Paris (Imad Eldeen) is brutally drowned. It works brilliantly by candlelight, getting murkier as the action approaches its deadly conclusion; the candles are symbolically snuffed out as Isabella Colby Browne's Juliet lies drugged. If there's a tendency to melodrama, it only adds to the charm. “....The final discovery of the bodies, sprawled across Elin Steele's spare wooden design, seems to happen in slow motion, as strings play from above. It's genuinely affecting, and the palpable tension in the room seemed proof enough that, if the overriding mission here is to convince us of the merits of Welsh-language productions, then consider it accomplished. Abridged, with thanks and acknowledgement, from the full review which can be read at: https://www.londontheatre.co.uk/reviews/romeo-and-juliet-review-sam-wanamaker-playhouse * * * * From Broadway World: “This translation – by J.T. Jones, a prominent Welsh translator of Shakespeare who died in 1975 – also lends new meanings to some of Shakespeare’s most famous speeches. Mercutio’s Celtic mythology-inspired dream of Queen Mab, for instance, takes on a particularly mystical tone when translated into Welsh, and performed with a dose of menace by Owain Gwynn. “...Browne’s take on Juliet, meanwhile, lends her an unusual, adolescent-feeling sense of bluntness and almost petulance. When Juliet switches to Welsh more frequently in the second act, it reads as Juliet abandoning propriety and displaying her emotions more freely. This subtle performance is made all the more impressive when you learn that Browne only learned Welsh after moving to Cardiff as an adult. “...While Juliet’s tomb is an elegant set piece, lurking ominously just offstage throughout the show, its size and grandiose design threaten to overwhelm the space, and in turn the tenderness of Romeo and other characters reacting to Juliet’s ‘death’. Conversely, the direction finds its footing in the quieter moments, including a beautifully choreographed sexual scene between the lovers (fine work from intimacy coordinator Ruth Cooper-Brown). Abridged, with thanks and acknowledgement, from the full review which can be read at: https://www.broadwayworld.com/westend/article/Review-ROMEO-A-JULIET-Shakespeares-Globe-20251107 * * * * The Reviewshub: “For never was a story of more woe than those who chose to miss this production of Juliet and her Romeo. “Theatr Cymru and Steffan Donnelly’s production takes the original Shakespeare and the Welsh translation of the play by J.T. Jones, and creates a version which blends Welsh and English dialogue. This production has actors speaking both languages, but for those who do not speak Welsh, there is an app that can be downloaded prior to the start of the show. As the actors speak their lines in Welsh, the app does a live translation to guide the listeners. Those using the app will have to keep looking at their devices and may miss the actors’ expressions and movements. These attributes are masterfully done and help the non-Welsh speakers who opt out of using the app to still follow the emotional narrative of the story. “...Romeo (Steffan Cennydd) and Juliet (Isabella Colby Browne) lean heavily into the original characters’ ages. This is refreshing and works perfectly as Browne’s free-spirited Juliet matches with Cennydd’s Romeo, and with all their teenage angst quickly changing to suit their mood. From heartbreak over the death of Tybalt (Scott Gutteridge), to a giggling mess when they next meet to consummate their marriage, these two actors do a fabulous job reminding everyone that Romeo and Juliet are not adults. Interestingly, their emotional demands lead to the Nurse (Llinor ap Gwynedd) and Ffrier Lorens (Eiry Thomas) sometimes acting as surrogate mothers to small children throwing a temper tantrum. At times, Ffrier Lorens’ actions seem more in line with soothing the lovers to stop their dramatics than aiding them with their familial conflicts. “The narrative of the story is beautifully done. Occasionally, Donnelly opts to split the scene so some actors will be towards the front of the stage, while others hang back in the alcoves. This adds dimension to the scenes. This narrative emphasises the current tensions and allows characters not currently speaking to display their emotions. No other scene captures this better than when the heartbroken Romeo sits in the alcove, as the happily newlywed Juliet discovers her cousin has been killed by her new husband. Then the two switch, and Juliet sits in the alcove, as Romeo processes his emotions to Ffrier Lorens. “Welsh folk music and traditions play a strong backdrop to pivotal moments on stage. From Romeo and Juliet’s first meeting during the party, to their wedding, to Juliet’s fake death, this production highlights the importance of Welsh culture through Shakespearean storytelling. “This Romeo A Juliet has two love stories. The first is between Romeo and Juliet. The second, and much stronger, is this production’s love for the Welsh: their traditions, folk music, and language.” Abridged, with thanks and acknowledgement, from the full review which can be read at: https://www.thereviewshub.com/romeo-a-juliet-sam-wanamaker-theatre-london/ Isabella Colby Browne and Steffan Cennydd: Photo credit: Marc Brenner |
Reviewed by: Adam Somerset |
This review has been read 101 times |
