Review: Romeo and Juliet BOVTS at Tobacco Factory Theatres

07/11/2026 editorial

An electrifying production of Shakespeare’s Greatest Hit

Bristol Old Vic Theatre School’s (BOVTS) production of Romeo and Juliet at Tobacco Factory Theatres this week was an exciting and dynamic piece of theatre.

The show, which comes as part of the theatre school’s 80th Anniversary Season, features 50 per cent of the 3rd year graduating BA Professional Acting students.

It’s directed by the Internationally renowned Shakespeare expert and former Artistic Director of the Royal Shakespeare Company, Gregory Doran.

Doran is a former BOVTS alum. He has delivered a truly electrifying production performed by an exceptional group of young actors right at the start of their career journeys.

Another BOVTS alum working on the show is Aldo Vázquez, who designed the set and costume.

Vázquez’s designs are a blend of Elizabethan style with modern activewear and toiles. Along with the minimalist set, it forms a leaning into Shakespearian metadrama.

The setting for this production is in a contemporary rehearsal room for a period production.

During the incoming, the actors are on stage already, going through final warm ups. The stage manager calls time checks. We must move through the bustle to reach our seats, immersing us from the off.

Romeo and Juliet is one of Shakespeare’s most popular plays. Nearly everyone has some kind of awareness of the play. Either as seasoned Shakespeare fans right down to those who have never seen nor read it but know of the ‘star-cross’d lovers’, the gist of the balcony scene and the intensely frustrating timing of their deaths.

To make it feel fresh is a challenge, but BOVTS rises to the challenge. The show flies along.

Robyn Mirmak’s Juliet is vivacious, emotional and impulsive. She gives as truly wonderful performance. She blows in on the wind, spirited and carefree.

Juliet is often considered more mature than Romeo, but in this production we have wildly youthful optimism driven by impulsivity, passion and rebellion.

It makes for a pleasing comparison with Daniel Owen’s Capulet. He is strongly rooted and grounded with good nature as the patriarch of the family. He does, however, match Juliet’s energy with impulsivity and volatility come Act 2, showing inherited characteristics and making the family feel real.

Lorna Muriungi’s Lady Capulet simmers underneath her necessary reserve and quiet dignity. She keeps emotions in check but we feel it bubbling under the surface. Her face tells us everything.

The first half contrasted strongly with the second. It was full of youthful swagger and comedy.

Mercutio – Hari Johnson – and Benvolio – Thapelo Ray – were a fabulous comic pairing.

Although the ongoing warring dispute is perpetuated by both families, the Montague side contrasted strongly to the Capulet side. This was where Sam Lawless – as Romeo – fell. Very much an idealistic dreamer.

Tyler Nazare’s Tybalt burns in comparison. He carries a blended seething and fiery rage at Romeo’s foray into his territory – against a stone cold composure in his ill-fated challenge.

Freya MacCallum’s Nurse was another solid performance. Her wonderful comic talent switched to the dynamics of the high drama skillfully.

Humour, where it existed in the script was strongly featured. The musicians coming in to entertain for the wedding during the discovery of Juliet’s body was brilliantly handled. This was enhanced by Vázquez’s use of a drape separating the anguish and distress from the encircling joviality.

The second half was absolutely riveting. The pace was fast. The audience – of course – knows what the outcome is going to be, and yet, it was an edge of the seat feeling.

The impulsive actions: drama; comedy; and tragedy, all brought to life by the youthful cast, created an electrifying second act.

The impulsivity of Juliet’s death makes far more sense in this production. It matches the nature of Robyn Mirmak’s performance.

The high drama of Act 3, Scene 5 was outstanding, acting as the perfect showcase for the talented cast of BOVTS’ students.

This play right here and right now feels really fitting. It’s hard not to find parallels with idealistic young people, warring families spilling into violence and bloodshed, even right here in Bristol.

The sold-out run of BOVTS’ Romeo and Juliet ran at Tobacco Factory Theatres from 31 October until 07 November 2026

Follow BOVTS on Instagram: https://www.instagram.com/bovtsbristol/

For more information about BOVTS: https://oldvic.ac.uk/

Cast and Creatives
Paris/Gregory – Fraser Dawtrey
Lady Montague/Balthasar – Ruby Decent
Peter – Kai Freeman
Prince – Raphael Goold
Mercutio – Hari Johnson
Romeo – Sam Lawless
Nurse – Freya MacCallum
Juliet – Robyn Mirmak
Lady Capulet – Lorna Muriungi
Tybalt/Apothecary – Tyler Nazare
Capulet – Daniel Owen
Montague/Friar John – D’Angelo Poskitt
Benvolio – Thapelo Ray
Xander Searson – Friar Lawrence

Director – Gregory Doran
Designer – Aldo Vázquez
Musical Director and Composer – Jonathan Grosberg
Choreography and Combat – Jonathan Howell
Intimacy Director – Clare Fox
Voice Coach – Sue Cowen
Dialect Coach – Katy Sobey
Production Manager – Steve O’Brien
Head of Company and Stage Management – Bryony Rutter
Stage Manager – Kimberley Towler
Deputy Stage Manager – Olivia Wolfenden
Assistant Stage Manager – Angharad Stemp
Lighting and Sound Director – Joe Stathers
Lighting and Sound Operator – Lydia Tricks
Head of Props – Louise Thomas
Props Assistant – Kacey Purnell
Head of Scenic Construction – Andy Scrivens
Scenic Carpenters – Andy Powell and Paul Mittens
Scenic Artists – Jo Browne and Skye Turner
Head of Costume and Costume Supervisor – Jill Blundell
Costume Assistant and Dresser – Jess Padday
Costume Makers – Anna Mann and Jess Padday
Milliner – Jenna Simpkins
Programme Notes – Misha Nye