"Vicky Holding’s Juliet, adorned in her post-mortem, lavish, cream-silken wedding gown, addresses her post-suicide, bier-laid, black-laced corpse. Holding’s Juliet addresses her black-laced, candle-lit corpse with furious disbelief and articulacy way beyond her years – but that’s playwright, Frank Bramwell’s, teenage rage, pre-Social Media Shakespeare inimitable style."

"Director, Marcus Fernando leaves an indelible touch on this production doing what the best of directors do – not getting in the way of what is so good to begin with."

"Bramwell's reimagined characters Shakespeare, rattle and stroll through a Scrabble-fest of re-purposed quotations and contemporaneous-imagined prose."

"Alex Nikitas’ character keeps us guessing as to whether his equivocating, rehearsed submissions to the prince are weasel-word faux blame-shifting or truly meant."

"And as for Nurse (Gerry Johnson) no self-denial sophistry here. Her near manic monologues find ambiguous solace lullaby-lamenting a rag-doll substitute for her long-dead baby, Susan. Johnson not so much tugs at the heartstrings as knits them up in barbed-wire despair."

"This production screams for a Fringe run. It would certainly kick kilt in Edinburgh."

"Bramwell, ingeniously well versed and prose-soaked in both source text and wider references, plays fast and louche with his wordplay."

"Take Romeo and Juliet (well, Juliet – Romeo is dead) and create a situation where you will see things from a new point of view. ‘Inamoment Theatre’ does this and reveals the perspectives of the Friar and the Nurse. We also get the thoughts of Juliet when she learns of Romeo’s death."

"The story was told from each participant's point of view and despite little interaction between them the continuity was good and the cast was intense and convincing throughout."

"If you have even a passing acquaintance with the original and would be interested to see a well performed and different take on the ending then this show is highly recommended."

"There are critics who disapprove of ‘mucking about with Shakespeare’ but giving a new and fresh insight to a familiar play can enrich appreciation of the original."

"I was assured that two thirds of the dialogue is Shakespeare’s even if selection and sequencing was subject to ‘modification’. Hence we get Juliet’s most famous lines, “Romeo, Romeo wherefore art thou Romeo” spoken over his corpse, which I think works just as well."