The feud between the Capulets and the Montagues at the centre of the tragic tale of Romeo and Juliet often comes across on stage as nothing more than a mild mutual distaste that spills over into courtly, almost comic, swordplay. Not so in Rupert Goold’s thrilling new production for the Royal Shakespeare Company.

Here the loathing between the families is shown as a visceral vendetta, its tone set in a startling performance by Richard Katz, who gives us a Lord Capulet as bloodthirstily psychotic as any Mafia godfather. As choreographed by the fight director Terry King, the clashes between the rivals are clearly to the death, beginning with a vicious rumble during which a torch-wielding Tybalt (Joseph Arkley) ties Benvolio (Oliver Ryan) to a stake in imitation of an auto-da-fé.

This episode, with its overtones of the Spanish Inquisition, reminds us from the start of the religiosity of those days – the setting is Elizabethan – which is to have its impact on the fate of the star cross’d lovers. Young people less willing to accept the dubious counsel of a priest, the bungling and rather creepy Friar Laurence (the excellent Forbes Masson), might have come to a happier end.

The passion felt by the pair is apparent from their first glimpse at the Capulets’ ball (at which is practised, to stirring music from Adam Cork, formal dancing that appears more African than Italian in inspiration). Strong sexual chemistry is suggested in the performances of Sam Troughton and Mariah Gale. I cannot pretend to understand, however, why Romeo should begin the evening in modern dress, as a camera-wielding tourist on a visit to Verona’s past.

Juliet’s burgeoning sexuality is encouraged by the lubricious suggestions of her good-sort Nurse (a fine comic turn from Noma Dumezweni, pictured right with Juliet). It is hardly surprising, perhaps, that she should suffer from the saucy accusations of Jonjo O’Neill’s silver-tongued Irishman of a Mercutio, who is always a delight to listen to, and especially so in the Queen Mab speech.

As is usual with this play, the “two hours’ traffic of our stage” becomes in performance rather longer than three. Who cares, though, with so much to savour throughout, including the atmospheric designs of Tom Scott and Howard Harrison’s well-managed lighting which take us into the dark heart of a dangerous city.

Courtyard Theatre, Stratford-upon-Avon, until August 27. Tel: 0844 800 1110 (www.rsc.org.uk).