Zendaya looks every inch the proud girlfriend as she arrives with a bouquet of flowers to watch Tom Holland's final Romeo & Juliet West End show
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Zendaya couldn't contain her smile as she arrived at the Duke Of York Theatre to watch boyfriend Tom Holland's final Romeo & Juliet West End show on Saturday.
The actress, 27, looked like a proud girlfriend as she carried a large bouquet of red roses and was escorted by security into the theatre to watch leading star boyfriend Tom, 28.
She cut a stylish figure in a pair of blue wide legged jeans which she teamed with a white tank top and a stylish yellow floral jacket.
The Challengers star added inches to her frame in a pair of towering stilettos by Christian Louboutin and toted her belongings in a £1,820 Louis Vuitton satchel handbag.
Zendaya completed her look by styling her long blonde tresses in a voluminous blow out and wore a glamorous palette of makeup.
Zendaya couldn't contain her smile as she arrived at the Duke Of York's Theatre to watch boyfriend Tom Holland 's final Romeo & Juliet West End show on Saturday
The actress, 27, looked like a proud girlfriend as she carried a large bouquet of red roses as she was escorted by security into the theatre to watch leading star boyfriend Tom, 28
The Emmy Award winner flashed her gorgeous smile as she headed inside to watch boyfriend Tom in his final Romeo & Juliet performance.
The Spider-Man actor plays Romeo in director Jamie Lloyd's take on the hit Shakespeare tragedy.
His Juliet in the sold-out show is played by newcomer Francesca Amewudah-Rivers, who was educated at the University Of Oxford.
Though he began his career in the West End, starring as the titular role in Billy Elliot The Musical, Romeo & Juliet is the first time Tom has returned to the stage.
In February more than 60,000 frenzied fans scrambled to buy tickets for Tom's West End run and tickets sold out in two hours.
Some compared the stress of trying to get their hands on tickets as on par with Taylor Swift's Eras tour.
Zendaya joined Tom at the press night performance as she showed her support for her leading man, leaving the venue hand-in-hand.
Zendaya and Tom met on the set of Spider-man: Homecoming in 2017, but predominantly keep their relationship out of the public eye.
She cut a stylish figure in a pair of blue wide legged jeans which she teamed with a white tank top and a stylish yellow floral jacket
The Challengers star added inches to her frame in a pair of towering stilettos by Christian Louboutin and toted her belongings in a £1,820 Louis Vuitton satchel handbag
The Spider-Man actor plays Romeo in the hit Shakespeare tragedy which is his first time returning to the stage after starting his career as the titular role in Billy Elliot The Musical
Zendaya and Tom met on the set of Spider-man: Homecoming in 2017, but predominantly keep their relationship out of the public eye
Tom previously revealed the reason he keeps his relationship with girlfriend Zendaya so private is because their bond is the 'thing he keeps most sacred'.
Last year, he said on Jay Shetty's podcast: 'My relationship is the thing I keep most sacred. I don't talk about it. I try my best to keep it as private as possible.'
'We both feel like that is the healthiest way for us to move on as a couple, so I do try to keep as removed from Hollywood as possible.'
DAILY MAIL'S PATRICK MARMION REVIEWS ROMEO AND JULIET
Spider-Man Tom Holland was never going to have much difficulty scaling the walls of the Capulets villa in Verona to reach Juliet's balcony in Shakespeare's love story.
But in the event, Jamie Lloyd's daringly dirgeful production, which opened in the West End last night, only requires him to reach the giddy heights of a microphone stand.
Yes, this new production of Romeo & Juliet is a typical example of Lloyd celebrity minimalism, following in the footsteps of James McAvoy in Cyrano and Nicole Scherzinger in Sunset Boulevard.
As usual, that means a run on mics in the capital for a production that is whispered and sometimes merely breathed into the amplification system.
As usual, that means a run on mics in the capital for a production that is whispered and sometimes merely breathed into the amplification system
Gone is the sunshine of fair Verona, where Shakespeare lays his scene.
Instead, we get the Stygian darkness of Soutra Gilmour's stage design, empty but for lighting rigs and a giant cinematic billboard relaying close-ups of the action as cameramen track actors on stage, and around the building itself (Romeo's banishment to Mantua takes him up on to the roof).
The play is famously preoccupied with death and Lloyd makes the most of that, with a cast dressed in black jeans, T-shirts and hoodies. It's monotone, monochrome and mannered. If you took the production's pulse, you might be tempted to call a priest.
Sometimes, it even feels as if Lloyd is deliberately trying to throttle the life out of the febrile passion that normally drives this headlong love story. And yet, cometh the hour, cometh the (Spider) man... all 5ft 8ins of him.
Damn, he's a buff and good-looking bloke. His commanding cheekbones and curving jaw suck the breath from the audience and keep us wrapped in his dreamy gaze.
Instead, we get the Stygian darkness of Soutra Gilmour's stage design, empty but for lighting rigs and a giant cinematic billboard relaying close-ups of the action as cameramen track actors on stage, and around the building itself (Romeo's banishment to Mantua takes him up on to the roof)
Its monotone, monochrome and mannered. If you took the production's pulse, you might be tempted to call a priest
Sometimes, it even feels as if Lloyd is deliberately trying to throttle the life out of the febrile passion that normally drives this headlong love story. Pictured: Daniel Quinn-Toye stars as Paris
Nima Taleghani (pictured) stars as Benvolio
I missed the colour of the masked ball where Romeo and Juliet meet, and the drama of the sword fight when Romeo calamitously kills Juliet's cousin Tybalt
After meeting Juliet he does a jig like a footballer celebrating a goal, but otherwise moves with the precision of a cat. And although its stillness he does best, the shy smiles he scatters on his beloved are, in Hollywood terms, worth a million dollars. In the circumstances, Francesca Amewudah-Rivers holds up well as Juliet.
Lloyd discourages her from showing too much personality or independent spirit (as he does everyone), yet she has a quiet maturity that sits easily with the poetry.
Likewise, Michael Balogun as Friar Lawrence imposes gravitas and good sense on the not so rash young lovers. The one surprise is Freema Agyeman as Juliet's youthful Nurse.
Normally ample, ageing and garrulous, Nurse is here a 30-something party girl with attitude. Much of her wittering in the Bard's original is cut, and instead she gets lines from Juliet's mother, who is controversially ditched altogether.
I missed the colour of the masked ball where Romeo and Juliet meet, and the drama of the sword fight when Romeo calamitously kills Juliet's cousin Tybalt.
But we may not get a chance to see Holland live on stage again if Hollywood has its way, so happy are they who have a ticket already for this curious but nearly sold-out requiem. And even happier they who can afford £275 a pop.
Pictured: Tom Holland as Romeo
Freema Agyeman (pictured) stars as nurse
