A few months ago, my sister and I joined the virtual queue to get tickets for "Romeo & Juliet" on the West End, an adaptation starring Tom Holland. I joined the queue at number 33,000, and after a while, I saw that the majority of tickets were sold out. I almost gave up on seeing Spider-Man in real life.
Then, about a month ago, a work colleague told me about standing tickets being released every week for £25. Compared to the remaining tickets, which were over £200, this was quite affordable. So, we began our pursuit of getting these tickets. On my third attempt, with the help of my colleague, we were successful.
It then dawned on me that we were going to have to stand for two hours and 15 minutes, with a restricted view of the stage...
When we arrived, there was a reserved place for both of us to stand, with a decent view of the stage. Some of the top half of the screen was covered, but apart from that, it was a fairly clear view.
The show was amazing, to say the least! It was like nothing I had seen before. Jamie Lloyd’s production used live projection, lighting, minimal setting, and colloquial language to create a darkness that contrasts the often-romanticised play.
At various points throughout, a camera would follow the actors, projecting their facial expressions and dialogues onto the screen behind them. The use of the live feed allowed them to record from different locations in the theatre, such as at the bar and on the rooftop, which took the story off the stage and gave it a unique setting.
Lloyd also chose to show backstage on the projector, allowing for a more stripped-back take. By incorporating such a 21st-century concept within an age-old art form, the use of live feed modernizes the play. However, at times, I couldn’t see the projector well from where I was standing, so I sometimes had to bend down to see it fully.
The stage itself was quite bare and used minimal lighting, which gave it a bleak tone. It forced me to focus on what the actors were doing and saying rather than anything else. The lack of props also meant that the lighting was even more intentional, almost assigning it as much importance as a prop. Not only was the stage quite empty, but the clothes that the actors wore were also quite basic. Sticking to a black-and-white dress code was particularly effective when blood was used, as it was the only colour present on stage.
In the intense moments of the play, the lighting was fully cut, plunging the audience into darkness. This made these moments even more sinister, as your imagination can take you further than your sight. Paired with dramatic music that escalates with events, the tension was unlike most I’ve seen.
Speaking of, there was great chemistry between the actors, especially between Tom Holland and Francesca Amewudah-Rivers. The characters’ desire for each other was clear and palpable. Inciting giggles and chuckles from the crowd, the beautifully talented duo earned the audience’s admiration. The use of informal language, dancing, and accents also excited the crowd. Often the actors would break into dance, relay their reactions in accents, and appear to break character by laughing, temporarily diffusing the tension.
Two hours and 15 minutes later, the show finished and, with a slight ache in our backs, we speed-walked to the stage door to catch a glimpse of Tom Holland before he got into his car, which was a nice end to the evening.
It wasn’t easy to stand still for the whole performance, but the production is an engaging one that you can get lost in, particularly if you enjoy Shakespeare. So don’t shy away from getting a standing ticket; it is a great price. I think that more theatres should offer standing tickets for plays that are in high demand, giving everyone the option to watch them. Get standing tickets every Wednesday at 10 am and watch Spider-Man in action!
edited by Isobel Knight
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