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109 – Romeo and Juliet by William Shakespeare

109 – Romeo and Juliet by William Shakespeare

Sadie Sink as Juliet and
Noah Jupe as Romeo
Harold Pinter Theatre, London
March 2026
Photo by Manuel Harlan

109 – Romeo and Juliet by William Shakespeare

The curtain rises on fair Verona, but peace in the city has recently been disturbed by new discord between two noble households who bear an ancient grudge. Young men, servants and gentlemen alike, from the rival houses of Capulet and Montague, roam the streets in search of quarrel. It is not long before fighting breaks out, only halted by the ruling Prince, who is enraged by this civil strife and issues stern warnings to both leaders. The eldest Montague son, Romeo, did not take part in this latest fray, for he has been eschewing social company, distracted by the self-conscious melancholy of an unrequited love. This very night, however, Romeo will be persuaded to attend a party at the rival Capulets, where a sudden but seismic moment of enchantment will change his destiny and that of both families.

This is of course the start of what is arguably the most famous love story of all time, William Shakespeare’s Romeo and Juliet. The tragic tale of the young lovers who fall deeply in love at first sight, and in a mad rush seek to defy their families to be together is probably Shakespeare’s most popular play, not only in the theatre but also in the countless forms it has been retold, in musicals, dance, opera, and film.  Romeo and Juliet’s ecstatic young love, and their terrible fate has become iconic, a model for romantic plot lines in any setting or time. As it happens, I am just back from a visit to Verona, where the lovers’ names live on in innumerable bogus forms, and still draw millions to pay homage.

As we record this episode, a typically daring new production of the play directed by Robert Icke is playing in London’s West End, with Sadie Sink and Noah Jupe starring as the “star-crossed lovers”. I’m delighted to have this production as a prompt to cover the play, and even more excited to be able to welcome a proper expert to guide us through it, Shakespearean scholar, Dr Hester Lees-Jeffries. Hester is a Director of Studies in English at Cambridge University, where she specialises in Shakespeare and early modern drama. She is the author of the introduction to the third edition of the New Cambridge Shakespeare edition of the text of Romeo and Juliet.

Shakespeare’s plays covered on The Play Podcast:
104 – Twelfth Night
103 – Titus Andronicus
076 – Othello
070 – King Lear 
064 – A Midsummer Night’s Dream
048 – Much Ado About Nothing
038 – Macbeth
036 – Hamlet
005 – The Tempest

Dr Hester Lees-Jeffries

Dr Hester Lees-Jeffries is a Director of Studies in English at Cambridge University, where she specialises in Shakespeare and early modern drama. She is the author of the introduction to the third edition of the New Cambridge Shakespeare edition of the text of Romeo and Juliet, as well as Shakespeare and Memory (Oxford University Press, 2013). 

 

Recommended Play

Hester recommended The Two Gentlemen of Verona by William Shakespeare, and
‘Tis Pity She’s a Whore by John Ford.

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115 – The Dance of Death by August Strindberg

115 – The Dance of Death by August Strindberg

August Strindberg’s The Dance of Death is set in a remote army base on the coast of Sweden, where an army captain and his wife are trapped together in an unhappy marriage. The captain, bitter at his lack of promotion, and his wife, frustrated at having been forced to give up her career as an actress, occupy their empty hours tearing into each other in a brutal dance of mutual cruelty.

Strindberg’s scorching portrait of marital strife was written in 1900, but has had a lasting influence. Arthur Miller dubbed Strindberg, “the mad inventor of modern theatre”, and echoes of his unflinching dissection of marital discord can be seen in the plays of Edward Albee, Tennessee Williams, Eugene O’Neill, and John Osborne.

Sir Richard Eyre adapted and directed a wonderful production of Dance of Death at the Orange Tree Theatre in Richmond upon Thames earlier this year, and I am delighted that Sir Richard joins me in this episode to guide us through Strindberg’s blistering onslaught on marriage.

114 – Love’s Labour’s Lost by William Shakespeare

114 – Love’s Labour’s Lost by William Shakespeare

William Shakespeare’s Love’s Labour’s Lost is described on the title page in the first publication of its text in 1598 as “A Pleasant Conceited Comedie.” I imagine that the epithets were intended to highlight the play’s courtly aesthetic, its frothy merry-go-round of courtship, and above all perhaps, its ostentatiously intricate word play. For it is a play rich in the love and perils of language.

I am joined to assay Shakespeare’s conceited comedy by the Artistic Director of the Orange Tree Theatre in Richmond upon Thames, Tom Littler. In the summer of 2026 Tom adapted and directed a magical double bill of Shakespeare, producing Love’s Labour’s Lost and Much Ado About Nothing in repertory, and staging them both ‘en plein air’.

113 – Arcadia by Tom Stoppard

113 – Arcadia by Tom Stoppard

Tom Stoppard’s 1993 play, Arcadia, is viewed by many as his finest play, renowned for the breadth of its intellectual interrogations and its formal invention. The play is a structural masterpiece of ideas, as well as a teasing detective story, joyous comedy, and emotionally rich exploration of love and loss.

As we record this episode a wonderful new production of Arcadia is playing at the Duke of York’s theatre in London’s West End, following its acclaimed run at the Old Vic theatre earlier this year. I am delighted to share the challenge and the pleasure of exploring Stoppard’s dazzling drama with the director of the new production, Carrie Cracknell.

Hester Lees-Jeffries

Hester Lees-Jeffries

Dr Hester Lees-Jeffries

Dr Hester Lees-Jeffries is a Director of Studies in English at Cambridge University, where she specialises in Shakespeare and early modern drama.

She is the author of the introduction to the third edition of the New Cambridge Shakespeare edition of the text of Romeo and Juliet, as well as Shakespeare and Memory (Oxford University Press, 2013).

Recommended Play(s)

Hester recommended The Two Gentlemen of Verona by William Shakespeare, and
‘Tis Pity She’s a Whore by John Ford.