REVIEW: Romeo and Juliet - St Luke's Theatre Society

Romeo and Juliet – Written by William Shakespeare

St Luke’s Theatre Society

Directed by June Balfour

By the time I take my seat for Romeo and Juliet, I’ve already had my complimentary wine and cheese, scoped out the bake sale, and bought my raffle tickets. The room is buzzing with conversation, people catching up like it’s a social event first and a theatre show second. Then, St Luke’s Theatre Society drops us straight into an 80s house party, and the Capulets are hosting.

This is Verona viewed through a 1980s lens rather than the 14th century, and the production commits to that choice through every detail. Setting the story in the 80s brings the emotional stakes closer than you might expect. Everything feels immediate. Big reactions, heightened feelings… exactly how teenagers experience the world.

The revolve keeps the action moving on set, shifting between a greenery-filled playing space with a white floral divider and Juliet’s bedroom on the reverse, with her bright bedspread, magazines scattered, and a plush Gremlin sitting on the bed. Costumes follow the same idea: Big hair, clashing patterns, bold makeup, each character arriving with a clear identity. By the time we reach the masquerade ball, it becomes a full visual spectacle. Romeo appears as gunslinger Han Solo, Juliet as Princess Leia in that perfectly virginal white, Friar Lawrence is Darth Vader, Benvolio is a Wookiee, and Tybalt channels Billy Zabka’s Karate Kid scowl. A quick once-over with a steamer would tidy up some of the costume creases under the stage lights (I'm picky sorry!)

Lillian Dowdell as Juliet is such a grounded centre in the middle of all the madness. She leans into the “sulky teen” energy, but there’s intelligence behind it too. This Juliet is a bookworm at heart, the kind of girl who would rather be studying astrology than being paraded around as someone’s future wife. Her reactions, especially opposite the Nurse and her mum, are sharp — the very obvious “please stop talking” energy. She has that perfect balance of playing the well-behaved daughter when she has to, while clearly not buying into any of it. It gives her this slightly spoiled, high-status edge, like she knows exactly where she sits in the world but doesn’t enjoy it.

And her chemistry with Lachlan Gregory Hugh’s Romeo is spot on. Their first meeting is awkward, dorky, and distinctly teenage. He falls head over heels instantly, while she toys with him just enough to keep things interesting. It makes their relationship feel recognisable, not just romantic. Lachlan Gregory Hugh throws himself fully into Romeo's personality: cheeky, impulsive, and just a little bit insufferable in the way teen boys can be. When he’s banished, it is absolutely the end of the world! No perspective, no recovery plan, just pure overreaction.

Giorgio Impiccini’s Benvolio is a standout actor, rocking a QLD Maroons jersey and bringing that blokey energy to the group. He shifts easily between humour and sincerity, giving Romeo something solid to bounce off when he inevitably spirals. Madelyn Scott’s Mercutio, played as a woman, is a great choice. There’s humour and bite, but also that subtle “best friend secretly in love” energy sitting underneath it, giving it a bit of an Eponine moment. She handles the text with confidence, and the denim jacket covered in pins and patches is great costuming.

Gary Kliger as Friar Lawrence is easily one of my favourite performances. Sassy, dry, and completely over everyone’s nonsense, he feels like the only person in the room with a functioning brain. Every line lands, every reaction hits, and there’s a constant sense that he’s trying to help while also questioning every decision that got him here in the first place.

On the Capulet side, Matthew Hobbs is genuinely intimidating as Lord Capulet. His anger towards Juliet feels uncomfortably real, especially in this modern setting. It cuts through the humour and reminds you what’s actually at stake. The fight choreography, also handled by Matthew Hobbs, is believable and intense. Jessica Fletcher as Lady Capulet makes an impact in her small scenes, all polish, social standing, and loud reactions. Ellie Bickerdike’s Nurse, on the other hand, is wonderfully frustrating. She cannot get to the point to save her life. Her rambling loops in circles, and Juliet’s reactions to her are some truly funny moments. There’s also that inappropriate interest in the young men, played right on the line between creepy and funny, though perhaps a little unnecessary. Her bedazzled velvet tracksuit also deserves its own mention!

June Balfour, who also directs the production, appears as Lady Montague. She brings a composed, authoritative presence, like a tough CEO figure quietly overseeing everything from the sidelines. Troy Cations as Tybalt is all puffed-up ego, clenched jaw, and 80s attitude, like he’s permanently ready to fight someone in a car park. The bandana and silk tie belt complete the look and he fits straight into this world. Matthew Ginman as Paris leans fully into that smug, entitled “finance bro” temperament, and Eamonn Clohesy’s Prince cuts a strong figure in his brief appearances, bringing authority the moment he steps onstage in his suit and tie.

The use of neutral Australian accents across the cast is a real strength. We’re hearing the original Shakespearean text, but it doesn’t feel distant or overly formal. It feels like people actually talking to each other. The clarity is excellent, the rhythm lands, and you don’t have to work to follow what’s being said. What stands out is how fresh it all feels. Lines I’ve heard a hundred times suddenly land differently, simply because of the way they’re delivered. There’s a sense of intention behind the phrasing, like the actors understand what they’re saying rather than just reciting it. It makes the language feel more personal and a lot more accessible without losing any of its tradition.

The 80s soundtrack weaves through the show, underscoring transitions and party scenes with tracks like Everybody Wants to Rule the World, White Wedding, Don’t You Forget About Me, and Total Eclipse of the Heart. It leans into the nostalgia, but also keeps things moving between scenes. Another One Bites the Dust lands with a perfectly cheeky moment, cutting through the tension in a way the audience clearly enjoys before we’re pulled straight back in. From a technical standpoint, the lighting is quite minimal. Everyone is clearly visible, but there’s room to shape the mood further. A bit of ambient sound, even something subtle, would help build the quieter moments in the evening and dawn scenes.

What really works here is the way the show understands teenage emotion. Everything feels urgent and all-consuming, while the adults carry that “we are so over this” energy throughout. The final moments are handled with sincerity. The reactions to the deaths are extremely dramatic, cutting through the stylisation to remind us of the real loss at the heart of this tragic story. A special mention as well to the program design, which is a fun little addition. Styled like magazine snippets and interviews, it adds extra flavour to the characters before we even see them onstage.

This Romeo and Juliet is bold, playful, and full of personality. It leans into its creative concept without hesitation and invites the audience to go along with it.