Interview with Luke Martin

Ahead of Romeo & Juliet, I caught up with Luke Martin to talk about the themes at the heart of the production, the journey behind it, and what audiences can look forward to when the lights go up.

This version of Romeo and Juliet pulls from across Shakespeare’s canon. What inspired you to rework the text in this way?

I had inserted a line here or there in dEFAULT’s first Shakespeare production ‘House of Gloucester’ and enjoyed how it brought a uniqueness to the adaptation, whilst still feeling respectful to Shakespeare’s writing. When brainstorming some of the new dynamics we wanted to explore in this version of ‘Romeo & Juliet’, it became clear there would need to be outside material added to allow for such explorations, and it seemed like the perfect opportunity to take the idea of pulling from all over the canon to a new extreme. Peter Hall and John Barton’s work on the ‘The War of the Roses’ was also quite a big inspiration. The way they rearranged and even rewrote the text to fit their production. It also all always comes back to Robert Icke’s ‘Hamlet’, which didn’t have many noticeably large changes, but a litany of smaller ones.

How did you go about selecting lines from other plays to build new scenes and dynamics?

I think I read almost every one of Shakespeare’s plays at least twice, scouring them for relevant lines to allow us to build new moments, interactions, and even scenes & storylines. Sometimes lines would stick out to me and I would know instantly where they should go, whilst other times I would store them in a quotes bank until the placement showed itself. For some of the larger additions – such as entirely new scenes – I would read through texts with the topics and moments I wanted in mind, collating any quotes I thought could be useful, and then I would print them all out and essentially jigsaw the scenes together.

What excites you most about reimagining such a well-known story for a modern audience?

Getting to play with such a well-known story means we can find new ways to surprise people. We are approaching this as new production, never just letting it rest on the laurels of its legacy. Even for those who know the original play intimately, there’ll be surprises big and small throughout the whole show.

You’re both adapting and directing, how do those roles influence each other in the rehearsal room?

It can be a tricky balance to maintain, but I am so fortunate to have a wonderful co-director in Eric Mok. Also, our cast is so intuitive, and bring their own ideas and thoughts to the rehearsal room. It has been a really collaborative experience.

What does this version reveal about Romeo and Juliet that audiences might not have considered before?

We’ve explored the religious aspect in this production, which I feel gives it this almost cosmic scope. Not only is the fate of this love in the balance, but also the very souls of Romeo and Juliet are at stake.

How have you approached balancing Shakespeare’s original language with accessibility for contemporary audiences?

I think very akin to how Icke approached the language in his ‘Hamlet’. For the most part, it is all Shakespeare’s original text, but here or there we have very lightly modernised. For example: the word “demesne” is now “domains”. We don’t want to shy away from the Shakespeare’s style and writing, but we also don’t want the audience to look up words at the interval. It should all feel immediate and modern and human.

The idea of using existing text to create something entirely new is fascinating. Did you set any rules for yourself during the process?

I’ve tried not to set too many rules, as that then could hamper our exploration. I didn’t want to start writing entirely new monologues that had no basis in any of Shakespeare’s writing, and any new additions couldn’t hinder the eventual place the story must go. But we also allowed ourselves the freedom to explore new paths, and see what something really left field could bring to the production.

What challenges came with reshaping such a familiar narrative?

Finding the right balance between old and new has been very important. We knew there was a balance to be struck, and never wanted to push the play so far that it snapped for the audience. At the end of the day, we are still telling the story of Romeo and Juliet, and couldn’t veer too far off course.

dEFAULT THEATRE are known for reimagining classics. How does this production build on your previous work?

This is the most ambitious show we have mounted (so far!), and I think it is a wonderful culmination of all the lessons we’ve learnt from our previous shows.

The production seems to lean into relationships beyond Romeo and Juliet, was that a conscious shift in focus?

Romeo and Juliet’s love is always effected by the people around them, whether that be their parents, their friends, or their rivals. I wanted to expand on those dynamics and relationships, so an audience can see the wider tapestry that Romeo and Juliet’s love is a part of. Tybalt and Mercutio’s new dynamic came very early on, and was an organic development from the ideas we started with for Mercutio. Mr and Mrs Capulet’s dynamic is something I’m really excited for audiences to see, as it is very different from what people may expect. It actually came quite late in the script’s development, after a table read just before casting began.

How did you work with the cast to bring new meaning to lines audiences might already recognise?

With approaching the play as a new piece of writing (another piece of John Barton’s advice that I’ve taken on board). We explore both how the lines work within Shakespeare’s context and a modern context, and choose on a case by case basis which version we want to push. Changing the context of lines from other Shakespeare plays has also opened the show up to all new readings of classic lines.

What role does movement, choreography, and intimacy direction play in shaping this version of the story?

This is a very tactile production, and I wanted to make sure the entire company felt comfortable and confident with everything. The wonderful work of Ellie Councell and Robert Penny has really brought the moments of joyous dance and the violent clashes to life. And Rosie Frecker’s work with the intimate moments has made sure the romantic connections feel true and real.

How do you keep the emotional core of the tragedy intact while introducing new elements?

I think by never forgetting why we’re telling this story, and where it is all heading. Where is that? You’ll have to come see the show to find out.

What was the most surprising discovery you made while adapting the text?

Whilst working on the text alone, how much some of these new ideas slotted in so naturally was a really pleasant and fun surprise. Within the rehearsal room, I have to say, the ideas Matt Ingram-Jones has brought to Paris are unlike any Paris I’ve seen yet, and I’m very excited for an audience to get to see his interpretation.

How important is it for younger audiences to see Shakespeare presented in new ways?

Shakespeare’s writing has some of the most incredible explorations of the human condition. I think his plays can help build greater empathy in people, alongside being some of the greatest stories ever told, home to some of the greatest characters. But we can’t expect people to simply show up because something is famous, we also have to engage them where they’re at. We’ve focused on making this production fast paced, provocative, and modern.

What has the collaboration with co-director Eric Mok brought to the production?

Eric has been wonderful in interrogating my directional ideas, and pointing out things I don’t subconsciously notice about my own performance. We are able to have a constant dialogue about the show as a whole, and it is a richer and deeper and sharper play thanks to him.

What do you hope audiences are thinking about as they leave this version of Romeo and Juliet?

I think with all the new additions and dynamics we’ve added, I’m actually more excited to discover what moments and which characters people really hone into. I want to find out!

Why should people come see this version?

If you’ve never seen Romeo and Juliet, this is an exciting show with passionate and incredibly talented young performers. If you have seen it before, this one will have twists and turns you won’t be able to predict.

A huge thank you to Luke for taking the time to speak with us and for offering such an exciting insight into this bold reimagining of Romeo and Juliet. It’s always refreshing to see classic texts approached with creativity and curiosity, and this production promises to bring a new perspective to one of theatre’s most iconic stories.

Romeo & Juliet plays at the Redbridge Drama Centre from the 15-17th May. If you want more information then click on this link: https://visionrcl.org.uk/events/romeo-and-juliet/