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The universality of Shakespeare’s plays is probably due to his ability to interact with different cultures and different times. This article analyses the case of the staging of Romeo and Juliet performed by the Galpão Brazilian Group from Minas Gerais at the Shakespearean Globe Theatre, proving that Shakespeare does not lose his essence nor his ability to communicate with the public, as evidenced by the English spectators vibrating at the Brazilian songs and where the plastic and visual effects provide a new magnificence to the classical author. In this context, and because the play is well known to the public, language plays a secondary role. Thus, although the “spectacular”, conceived as a whole, has always existed in theatre, and in particular in many Shakespearean plays, the typically Brazilian performance of Galpão Group renews the perspective: it introduces magnificence and unusual elements of spectacularity not only through the transformation of an English Renaissance playwright into a circus show with songs in Portuguese, with Brazilian music and poetry but also by the intrusion of a totally unexpected stage design. The Brazilian Romeo and Juliet succeeded in bringing together heterogeneous worlds: European hegemonic culture and popular culture from Brazilian inner regions.