A week remains of Creation Theatre’s ‘run on the roof’ (a fine amphitheatre atop the Business School), and Romeo and Juliet remains as vibrant as it was when first reviewed in July.

I saw it in the concrete brightness of a matinee, but can well imagine how an evening show would look. The Montagues and Capulets are at it in most threatening fashion from the outset down in the courtyard; then the audience flows up the steps, following the actors as they begin the play proper.

There are some strong performances, foremost among them Benjamin Askew’s Mercutio. His is a powerful and playful presence — easing smoothly into archness at times with his buddy Benvolio (Ben Ashton). Nicky Goldie is a standout as the Nurse — touchingly caring of her charge Juliet but with a wicked and knowing look in her eyes in scenes with the lads. It seems strange, though, that she has to double as the Prince. I enjoyed some good anger from Gordon Cooper as Capulet.

And so to the lovers at the heart of the play. From the programme notes, Amy Noble is apparently the only actor not to have received any formal drama training, a fact which makes her performance as Juliet all the more impressive. She is sweet and demure and yearning and lustful by turn. The muddle of her death is movingly done.

Romeo’s is a thankless role — never quite one of the boys and when he’s with Juliet, you can be sure that the audience isn’t watching him. Patrick Myles has a good stab at the part (quite literally: the fight scenes are well staged); his despair is stronger than his amorous ardour.

This Romeo and Juliet is also well staged: really good use is made of the circular acting space and set piece tableaux — the Capulet party early on and the rites surrounding Juliet’s supposed death — are excellently choreographed.