On a cold day in May, Benjamin Kilby-Henson (pictured) was overseeing two actors – Theo Dāvid and Phoebe McKellar – floating on a pool lounger making goo-goo eyes at each other, while being filmed by a drone. Not the usual day’s work for the theatre director, but an appealing challenge.
The resulting clip sees warm, hazy light dapple the couple caught in a passionate embrace, as an ominous score hints at drama soon to befall them. It could be a preview for a big-budget film – instead, it serves as the sexy and stylish trailer for the Auckland Theatre Company’s upcoming production of Shakespeare’s Romeo and Juliet, setting the tone for the way the classic story is refreshed.
“We really wanted to make a short piece of art that spoke to the glamour and the romance and summer heat of the play, “ explains Kilby-Henson of the work, on stage across July and August.
The epic new take is set in Italy’s Verona of the 1960s, as Dāvid (Shortland Street) and McKellar (One Lane Bridge) embody the now Missoni and Pucci-clad star-crossed lovers.
With the importance of Shakespeare to theatre and the story particularly appealing to young people [the school sessions are already mostly sold out], the clip was an ideal tease, to draw audiences in.
The experienced director (The Effect, King Lear) who is also Artistic Associate Director and Casting Director for ATC says the company had done Romeo and Juliet in 2010, but the idea to tackle the work again had been floating around before its selection for the 2025 program.
“It’s just such a huge work in so many people’s hearts, that it felt like the time for it to come around again,” Kilby-Henson says. “It’s a tragedy, but [the story] is predominantly remembered for all of its aroha. In the kind of tough, gloomy times we’re going through at the moment, this big, beautiful celebration of love felt right.”
The lead roles were auditioned separately, and then together, to ensure a connection was undeniable. “We were looking for the actors who had the bite in the words and the drive people need in the room,” the director explains, saying both Dāvid and McKellar “smashed it out of the park.”
“Phoebe has a fragility coupled with a fire and Theo has an enchanting warmth, coupled with a devilish twinkle in the eye. The text describes their relationship as flint and gunpowder, when they come together – KABOOM. They are the perfect combo for Shakespeare’s most headstrong, vibrant and zealous young couple.”
The pair are supported by 10 other experienced actors and the story unravels with speed, passion and glamour, assisted by clever creative, including production design by Daniel Williams, costumes by Daniella Salazar, lighting by Rachel Marlow and an original score by composer Robin Kelly.
All the elements are key in creating the new era in which Romeo and Juliet find themselves. “I’m personally not down with all the hose and bustles and keeping it in the day that it was written in,” says Kilby-Henson, describing Shakespeare’s work as ‘robust’ enough to handle a more modern setting. “The ’60s was the decade of love, and so for Shakespeare’s diorama of love, it felt appropriate. It also gave us loads of excuses to really delve into the high fashion of it, that sort of European sensibility.”
A party scene lends challenges and opportunities for the director. “A third of the way in, there’s a huge party, and I’ve got only 12 actors,” he laughs, describing collaboration with movement director Katrina George on how to captivatingly convey key moments of the famous story in line with the chosen era.
“I’ve worked closely with Katrina and Robin Kelly for a beautiful movement approach,” the director explains, saying the Capulets’ ball will take inspiration from Truman Capote’s 1966 Black and White Ball, once dubbed ‘the party of the century.’ “It was black and white themed, but they had these really elaborate masks,” hints Kilby-Henson of what will no doubt be an incredibly chic on-stage affair.
Actress Beatriz Romilly, previously seen in ATC’s version of the gripping one-woman play, Girls & Boys, will take on the role of Lady Capulet.
“I’m so excited to step into the world of 1960s Verona,” she enthuses, describing the setting as a “fabulous playground” to explore. “I’ve always loved the fashion, music, textures and colours of that era, there’s something so vibrant and joyous about it. Plus, Lady Capulet has a killer wardrobe,” says Romilly.
She agrees with Kilby-Henson’s belief it’s a relevant drawcard for young people in particular, but says there is plenty we can all connect with.
“Shakespeare’s ability to explore timeless human themes of love, jealousy, power, ambition and betrayal, are perhaps why his plays will continue to resonate with audiences across time and cultures,” she points out.
“At its heart, Romeo and Juliet is about young people trying to find their place in a world built by the rules of an older generation, “ she says.
“It’s about breaking away from inherited hatred and outdated values. We don’t have to look very far to see how this resonates with the world we live in.”
William Shakespeare’s Romeo & Juliet
15 July–9 August, 2025
ASB Waterfront Theatre
atc.co.nz
