There never was a more stylish way to show the story of Juliet and her poor Romeo.

Clearly designed to be the jewel in the crown of Kenneth Branagh's year long Garrick residency, this blockbuster outing for theatre's most doomed couple is a stylish, booming production that transports us to the Verona of the 1950's, where la dolce vita is in full swing.

On Christopher Oram's stark, columned piazza of a set (capturing both modernity and the romanesque in one fell swoop) the war of the Capulets and Montagues plays out as a classic film, with the female costumes designed in Dior's New Look period. Dark, almost monochromatically besuited or decked in braces and a rolled up shirt, the young factions of each family gather to party, fight, fall in love and...well you know the rest.

Fittingly then, it is with a Gene Kelly verve that Richard Madden's Romeo has his heart stolen by Lily James' breathless and gleeful Juliet, their chemistry, tapped by Branagh in 2015's Cinderella is eminent, as they bound around each other, moving from the first flights of love to a couple torn apart by circumstance and feud. From their first meeting to their last, this handsome couple prove their acting chops in fine form, with James' Juliet maturing from a champagne swigging teenager to despairing wife, paralleled by Madden playing his Romeo with a knowing smile, as the swaggering youth finds himself driven to extremes in his new wife's tomb. He has a fluid movement about him, encompassing the stage gamely, even when sharing it with Sir Derek Jacobi, who is on fine form as a camp lounge lizard (by way of Basil Brush) Mercutio, a twist of casting that it is obvious he enjoys immensely.

Elsewhere, Meera Syal is delightful as Juliet's nurse, sharing in the passion with her charge, and holding her own against the braying men, she's very funny and totally believably devoted to her fair Juliet, whatever trouble she gets herself into, a fresh contrast to the austere, but elegant parents. Of which Michael Rouse as Lord Capulet (or probably Don Capulet) is fantastic to watch as the machismo-filled Mafioso, aware that power is falling through his clutches, believably broken at his daughter's demise.

Visually the show is enchanting, with a bombastic and sometimes anachronistic soundtrack (house music at the Capulet's ball) that all works beautifully, if Branagh and co director Rob Ashford set out to pay homage to Fellini, through design, direction and an exquisitely talented cast, they have failed, insomuch as they have made their own classic retelling, a thing of beauty indeed!

Special mention to Kathryn Wilder as Peta, the attendant - she's hilariously funny, like a little more switched on Bubble in Absolutely Fabulous

Romeo and Juliet runs at the Garrick Theatre until August 13th

Best bit: Derek Jacobi clearly loving being the older Mercutio, hanging out with his dishy young pals, imparting wisdom with a wink and nudge.

Any boring bits: None, the supercharged staging doesn't give you too long to be bored

Who would like it: This one is fairly universal, great for students and older theatregoers wanting to see how well Sir Ken has dusted off the old behemoth

Who wouldn't like it: Shakespeare purists might have a little bit of trouble.

Verdict: Four out of Five

Reviewed by Kitty McCarron on May 25th, 2016

@ThisIsKittyMac