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A traditional yet deeply resonant staging of Shakespeare’s most famous tragedy. Rich in atmosphere and emotion, this production explores young love in a world where pride, silence and broken support systems lead to devastating consequences.
Shakespeare in the Park has become a summer ritual on Auckland’s North Shore, and Shoreside Theatre’s 30th‑anniversary season continues that tradition with a lively staging of Romeo & Juliet, directed by Steph Curtis. Performed in the open‑air amphitheatre beside Takapuna’s PumpHouse Theatre, the production makes full use of one of the region’s most charming performance spaces; a venue that, even before the first line is spoken, sets the tone for an evening of communal storytelling.
The PumpHouse amphitheatre is one of those outdoor venues that feels purpose‑built for Shakespeare. Its multiple entrances allow actors to appear from unexpected angles, weaving through the audience or emerging from behind stone walls and garden paths. This creates a sense of immersion that indoor theatres often struggle to replicate without expensive set pieces. In a play driven by feuding families, street brawls, and clandestine meetings, the ability to use the entire environment as a stage adds a welcome dynamism.
This summer’s weather, however, has been less than cooperative. Yet the PumpHouse’s hybrid setup means audiences don’t need to gamble with the forecast. Should the skies open, the production simply relocates inside the main theatre; a practical solution that preserves the experience without sacrificing comfort. It’s a thoughtful arrangement that removes the usual hesitation around outdoor theatre during an Auckland summer.
Curtis’s production demonstrates a clear respect for the material, supported by a team that includes fight coordinators, intimacy advisors, and even “chaos coordinators.” Their involvement shows in the careful handling of physical moments. While the cast is not composed of seasoned stunt performers, the swordplay is clean and confident, and the larger scuffles, though more stylised than dangerous, maintain a sense of fun.
Given that Romeo & Juliet is one of the most frequently staged Shakespeare plays worldwide, it’s understandable that each company seeks its own flavour. Shoreside Theatre leans into character interpretation as its point of difference, particularly with Romeo and Paris. Both suitors are played with heightened comedic energy, giving the production a contemporary looseness that contrasts with the tragedy at the story’s core.
Ben Martin’s Paris is flamboyant, excitable, and unabashedly theatrical. His exaggerated devotion earns genuine laughs, though it does soften the character’s seriousness as a rival for Juliet’s hand. Grant Zent’s Romeo, meanwhile, adopts a sardonic, quick‑witted style that feels almost modern in its delivery. His humour lands well, and his chemistry with the ensemble is strong, though his shift into lovestruck sincerity occasionally feels abrupt.
Among the cast, several performances shine particularly brightly. These performances help stabilise the production, especially when paired with the enthusiasm of the younger cast members.
Layla Whiteside’s Mercutio is a force of nature; bold, mischievous, and endlessly watchable. Whiteside brings a restless energy that lifts every scene she enters, and her playful physicality adds texture to the production’s first half.
Terri Mellender, as the Prince, makes the most of a brief but crucial role. Their presence is commanding without being overstated, grounding the play’s moments of civic authority.
Iona Taylor’s Nurse is another highlight. Taylor disappears into the role with a natural ease that makes her scenes some of the most engaging of the evening. Her performance avoids the temptation to overplay the comedy, instead finding humour through character rather than caricature.
The cast’s youthfulness works in the production’s favour when portraying the impulsiveness and volatility of Verona’s teenagers. Their sudden shifts from joy to fury, infatuation to despair, feel authentic and well observed.
The pacing, however, is notably brisk. Despite a three‑hour runtime (including intermission), the dialogue is delivered at speed, giving the impression of a story racing toward its conclusion. This may be a deliberate choice to maintain momentum in a setting without props and environmental set pieces to draw the eye, but it does mean some emotional beats, such as the romance, grief, parental conflict, don’t always have time and space to fully resonate.
The minimalist set places all responsibility on the actors to build the world of the play through their actions and personalities. With only a central platform and a ladder‑balcony, the production relies heavily on dialogue and performance to convey setting, tension, and atmosphere. At times, this works beautifully; at others, it leaves the larger stakes of the feud or the depth of the romance feeling slightly underdeveloped.
The costume team, Steph Curtis, Shannon Godfrey, Patricia Nichols, and Carla Anderson, deserves credit for creating a visually coherent palette. The Capulets’ blacks and reds contrast cleanly with the Montagues’ blues and greens, making allegiances instantly recognisable. Paris’s regal purples and golds set him apart as a third faction, distinct from both families, as does the Friar's simple earthly brown garb. It’s a simple but effective approach that supports the storytelling without overwhelming it.
Shoreside Theatre’s Romeo & Juliet offers an enjoyable night out, especially for audiences seeking a lively, accessible take on a familiar classic. The venue elevates the experience, the cast brings enthusiasm and commitment, and several performances stand out as genuinely memorable.
For those who know the text intimately or seek a deeply layered interpretation, there are areas where the production could grow; particularly in emotional depth, worldbuilding, and giving weight of the central conflict. But these observations sit alongside an appreciation for the local company’s ambition, the clarity of the staging, and the joy the cast brings to the work.
In the end, this is a spirited community production that embraces the strengths of its venue and offers a fun, engaging evening under the summer sky, rain or shine.
Shoreside Theatre's run of Romeo & Juliet is being performed at Takapuna's PumpHouse Theatre from January 17 to February 14, 2026.
You can purchase tickets here