The Royal Shakespeare Company does not disappoint.
Here is an excerpt from David Sheward’s review on Backstage.com
In addition to this juxtaposition of eras, Goold employs a fascinating recurring theme: fire. Taking his cue from the Bard’s numerous references to the heat and brevity of amorous passions, flames are everywhere, from Scutt’s sun-flecked masks for the ball scenes to Lorna Heavey’s blazing videos and projections to Howard Harrison’s fiery lighting. Torches are used as weapons during fight director Terry King’s pulse-pounding battles between the Montagues and the Capulets. The jittery Mercutio plays with matches, and before confronting her daughter Lady Capulet nervously lights a cigarette.
I have never used live fire in a show, mostly due to fire regulations of the building or the municipality. When I was working with Forward Theatre, we had tentative plans to mount a show with a lot of darkness, including rapier and cloak fights, and most excitingly rapier and lantern. We didn’t get an opportunity to mount that play, but I often think about it.