Bell Shakespeare's critically acclaimed 'Romeo & Juliet' is on a whirlwind tour of the country, enjoying dates at a total of 26 venues.
The tour comes after the show received rave reviews in 2023.
It's arguably William Shakespeare's most famous and iconic play, delving into intense love and heartbreak between star-crossed lovers Romeo and Juliet, whose forbidden love leads them down a dangerous path.
This production gives audiences an even closer look at this iconic love story – a story which unfolds against an enchanting, starry sky.
Dynamic newcomers Madeline Li and Ryan Hodson will step into the shoes of these well-loved title characters for this show, which is travelling to venues across Australia (including Brisbane Powerhouse, where it returns after 14 years) until the end of 2026.
Here, we learn more about Bell Shakespeare's production of this iconic story, from Ryan Hodson, who plays Romeo.
This production of this iconic story ‘gives audiences a closer look’. What can we expect in this show?
From this production, you can expect a sleek, dynamic and heartbreaking show, which brings to the fore the tragic accidents that the play is famous for. The beautiful, minimalist set and costumes focus the audience on the characters and relationships rather than how it might tackle any grand set pieces.
You’re playing Romeo. How has it been to step into the shoes of such a well-known role?
Initially, stepping into Romeo was a daunting prospect. It’s such a famous role, which everyone from high schoolers to the greatest actors of all time have had some experience with. Though once you start to dig into the role and the play, you realise why it is so famous, and what a gift it is to be able to play it. For this reason, rehearsals have been such a joy, especially playing opposite such exquisite actors in equally brilliant roles.
What has been the biggest challenge of preparing to play him?
I think for me the biggest challenge has been overcoming the idea that it’s this mammoth part that has a huge weight of expectation on it. Though once you make peace with the fact that people have been playing it for 400 years and at this point there is no ‘definitive’ Romeo, only preferences, you realise all you can do is play it truthfully for you, focus on staying present in each moment and let the play unfold. At that point, so much of it takes care of itself. The audience are there to see something real and you have to try your best to give it to them.
On the flip side. . . Is there something about Romeo that you’ve been able to relate to or tap into from a personal perspective, which has helped your preparation?
I think something I share with Romeo is a sort of hopeless romanticism, as corny as that is to say. There are a few moments in the play where I recognise a younger version of me in Romeo, the first times falling in love or the first times being heartbroken. These moments of careless optimism and, at times, irrational despair.
Do you have a pre-show ritual? Or anything you plan to do to keep you in the zone for the national tour of this show?
To stay in the zone and keep fit for a tour, I find things like making sure I’m sleeping and eating enough and keeping gently busy in the days really help. For pre show, I like to walk through most of my track just to feel it in my body and feel comfortable in the space. I also like to look out to the seats and imagine my family or important people in my life watching the show. It helps to centre me and take joy in getting to perform for them.
What sorts of things has Bell Shakespeare done in this iteration, to keep ‘Romeo & Juliet’ fresh and just as entertaining after all these years and so many performances of it?
To keep the show fresh and entertaining, Bell Shakespeare and our director, Peter Evans, have tried to really highlight those sliding doors moments that are key to pulling on the audience's heart strings, leaving them asking “what if?”. While we do have some moments that feel more classical – costume pieces, a dance and a rapier duel – there is also an element of a contemporary feel to a lot of the iconic scenes, like Romeo and Juliet’s meeting. I also think that by having contemporary artists be free to put their stamp on these roles, there is an inherent rediscovery and reinterpretation of the play, which I believe modern audiences will respond to.
Why do you think the story, in general, is still so iconic to this day?
This play is so iconic because, at the core of it, there is this universal human truth and yearning. We can all recognise either knowing love like this or wishing for it. Not just as the lovers but as parents, friends and mentors. As an audience, we can’t help but be compelled by these vibrant characters fighting against their desperate circumstances.
What are you hoping audiences take away from this production?
I’m hoping people will be moved by the production and walk away feeling that these plays are accessible and relatable to modern audiences. That there is still value in exploring these stories for ourselves. That and the value of communication, patience and grace when dealing with those we hold close and those we perceive to be enemies.
If you could have dinner with one character from ‘Romeo & Juliet’. . . Who would it be, and why?
One character from 'Romeo & Juliet' that I’d have dinner with would have to be Mercutio. He’s such a vibrant and exciting personality. He’s so sharp and hilarious. It’d be a super fun evening, if a bit inappropriate.
'Romeo & Juliet' Tour Dates
9 October – Gladstone Entertainment Convention Centre11 October – Pilbeam Theatre (Rockhampton)
15 October – Cairns Performing Arts Centre
17-18 October – Brisbane Powerhouse
21 October – Lighthouse Theatre (Warrnambool)
23 October – Alexander Theatre MPAC
25 October – Ulumbarra Theatre (Bendigo)
28 October – Burnie Arts Centre
30 October-1 November – Theatre Royal (Hobart)
3 November – Princess Theatre (Launceston)
6 November – Her Majesty's Theatre (Ballarat)
8-9 November – Geelong Arts Centre
13 November – Orange Civic Centre
15 November – Griffith Regional Theatre
19 November-7 December – Sydney Opera House
