Put Romeo (Andrew Garfield) and Juliet in a scenario without a balcony. The heights of intensity in Jacob Murray’s charmingly straightforward performance are contained to the Royal Exchange floor. But this young production isn’t lacking in emotional impact. Murray claims that Italian films were his inspiration, yet La Dolce Vita or any other Italian neorealist movie doesn’t really feel like this. Although there is little evidence of moral deterioration or spiritual rot, some visuals do have elements of, instance, Fellini’s aesthetic. When his daughter defines him, Lord Capulet grows a little nastier as simmering violence explodes in clashing sword fights. While the brief appearance of the guys riding Vespa scooters captures the 1960s Italian youth style, there is otherwise no feeling of the opulence and wild eccentricity of the era’s culture.