Romeo & Juliet review: Shakespeare meets Black Mirror in Sadie Sink's West End debut

Sadie Sink's West End debut is a triumph of tragedy and heartache as she brings Robert Icke's adaptation of Romeo & Juliet back to the London stage.

The timeless story of love and death is given a timeless out-of-body atmosphere as scenery, costume and framing devices are used to strand the production in a minimalist world where the 1590s and 2020s blend together.

The show has the overall feel of the Black Mirror episode Hang the DJ as a giant digital clock flashes onto screen throughout – reminding that the lovers' lives are literally ticking away.

This is joined by a clever time-warping element in which certain scenes are played out twice to suggest how their story could otherwise have gone: Tybalt interrupts Romeo at the party, the Nurse refuses to give Juliet the message, the Friar's letters arrive on time and so on – showing us how cosmically aligned these star-crossed lovers truly are.

These elements create an effectively eerie atmosphere for the show and are a nice palette cleanser for the endless gun-toting modern adaptations we often see today, although this was occasionally ruptured by an out-of-pocket cover song only producers of The Traitors would enjoy.

It also breaks a centuries-long trend of seeing the lovers' fates as a hopeless, foregone conclusion, we all enter the theatre knowing where their story will end up, but never before have I experienced a bitter tug of hope that it could go another way.

But as the production overall seems to live somewhere in the uncanny valley, the cast's performances are utterly grounded. Sadie Sink is an infectiously likeable Juliet, who brings all the painfully real awkwardness of a teenage girl to the stage. She grunts, growls, giggles and leaps around in the first act, only to turn that energy into concerning obsession in the second – bravo to Robert Icke for remembering they are teenagers who, at the end of the day, are completely naive of the real world.

Noah Jupe is equally impressive. His devoted Romeo comes with an impish grin and excitement that bubbles up through him when addressing the audience. He seems to turn all of Romeo's more hapless qualities (cough, Rosaline, cough) into endearing ones, again reminding us of his youth and inexperience.

However, both actors should pay attention to the might of their co-star Clare Perkins, who plays Nurse. So often a character who is seen as a message-carrier, or a foil for Juliet's dreams, the Nurse is frequently shoved aside or made a mockery of on stage, but not here. Perkins is a magnetic presence throughout the show, juggling pinpoint humour and deep wells of humanity. Through her performance, you finally sit up and take note of the character's long past and how parental her connection with Juliet is, she deserves all this praise and more.

Clark Gregg, Eden Epstein and Dylan Corbett-Bader are also particularly watchable and layered in their approach to the performance, taking away any sense of pantomime from the rivalry between the Capulets and Montagues.

Overall, a universal story such as this should be enjoyed universally, and for me this production really puts in the effort to broaden its appeal. Somehow, a show that has been known to us for over 430 years still managed to surprise me.

Buy Romeo and Juliet tickets at LOVETheatre

How to get tickets to see Romeo & Juliet

Tickets are on sale ATG Tickets or LOVETheatre. The play is set to run until 20 June at the Harold Pinter theatre, which sits just a short walk from Piccadilly Circus.

Buy Romeo and Juliet tickets at LOVETheatre

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