In this heavily reconstructed version of Romeo and Juliet, it's a case of “a plague on both your building sites”.

The Capulets and Montagues are rival property developers, sworn enemies - of course - in business and society. And if you thought Baz Luhrmann's film was radical enough, Jimmy Fairhurst's treatment pushes the barriers even further.

This is affluent, 'loads of money' 80s England. There are frolicking pool parties and mind-numbing raves to stirring soundtracks of string quartet Madonna and drum and bass Vivaldi.

On the 'site', there's a centre stage footings pit surrounded by hazard tape, a very versatile pile of gravel and a burning brazier. Romeo and his chums are working away in high viz. jackets, builders' shorts, and Screw Fix tool belts.

Here Romeo is a smooth talking, likeable, wide-boy approaching middle-age and - picking up on the modern demography that off-spring are living at home much later these days -  the higher class, rather spoilt Juliet is not 14, but 40... and her nurse (a sharp-suited Louise Haggerty) is more of a P.A.

The mission of Fairhurst's 'Not Too Tame' company (working in hand with the New Vic) is to target an audience that might feel Shakespeare isn't for them, which this production does in spades.
Meanwhile the Bard Buffs in the stalls seemed prepared to be broad minded, so it's a huge success for everyone. To receive a standing ovation on a packed press night may be a bit passée. To get the same adulation on a wet Wednesday means you're in business.

Comedians have turned to Shakespeare before; Ken Dodd, Dawn French and (on this very stage) Lenny Henry. Too often they feel like “comics doing Shakespeare” but Russell Cane is a hugely accomplished “Shakespearian actor who also does comedy”.

Natalie Casey is a frisky, highly energetic, petulant, dynamic and daring Juliet. Both are now 'old enough to know better' and not to give a hoot which lends a new thrilling knowingness to the relationship. Their balcony scene is brilliantly different, as they speak as directly to the nearest audience member as to each other. In bed together they are more besottedly playful, than helplessly in love. Her phrasing of the text is surprisingly erotic. His visual underpants gag is really original.

Juliet taking Father Lawrence's sleeping draft is an incredibly riveting moment of ultra-physical acting. Natalie Casey swoons, heaves, jerks and convulses almost beyond belief - as if the actor was actually dying. The interception of Lawrence's message - the audience passing it on one to another until Lizzie Hopley's cougar Capulet snatches it, is particularly inventive. Unfortunately, as Juliet lies asleep in her gravel grave the juxtaposition of tragedy and humour comes an embarrassing cropper.

The part of Peter (Andrew Butler) is much expanded and it is he who is the club stand-up comedian with a neat wedding band routine, but, as the play turns darker, there is just one corny kazoo joke too many.

However, this production has a stupendous conclusion to deliver. Gone is Montague's fusty deathbed valedictory. Instead the squabbling, grabbing, blaming 80's ethos continues whilst - with just one inserted word - the whole story is taken one transformational step further. It's a glimpse of beauty that Shakespeare might never have thought of.

Five stars

Reviewed by Chris Eldon Lee at the New Vic Theatre, Newcastle-under-Lyme. Romeo & Juliet continues to show at the venue until Saturday 10 October