As a seasoned theatre-goer who’s seen more than a few productions of Romeo and Juliet, I must say that this new adaptation is as thrilling as it is thought-provoking. The cast, under the masterful direction of Sam Gold, breathes fresh life into Shakespeare’s timeless tragedy.
In simpler terms, no matter what you call it, a rose still has its sweet scent, and this applies to the embroidered rose on Kit Connor’s black singlet in Sam Gold’s modern adaptation of Romeo and Juliet. This updated version might be chaotic and untamed at times, but it’s also filled with excitement and romance, as well as anger and violence. The audience, mainly young women and members of the LGBTQ+ community, couldn’t hide their enthusiasm when Connor leaped onto a bed above the stage to kiss co-star Rachel Zegler. This isn’t your typical balcony scene, but it’s certainly captivating.
Upon entering the theater, theatergoers are greeted by an unusual scene featuring young-looking actors dressed in bright neon colors, baggy denim, and Hello Kitty backpacks, intertwined with each other in a way that suggests a carefree, open-minded attitude. The overturned shopping cart filled with fluffy pastel teddy bears, the club kid-inspired outfits, and the pulsating techno music of the rave introduction – along with the bold slogan “The Youth Are Fucked” – hint at a playful yet controversial interpretation of a classic romance that’s over 400 years old.
But Shakespeare’s greatest plays are timeless, lending themselves to endless relocations both historical and contemporary. As wild as it is, aggressively courting the TikTok generation, Gold’s revival fully commits to its concept and sustains it surprisingly well. Traditionalists might shudder at the way some of the verse is delivered, but if you’re willing to take it on its own terms, this R+J is an infectious emotional rollercoaster. And a hot shirtless Apothecary is something you don’t find at CVS.
Beyond Connor’s portrayal of Romeo and Zegler’s performance as Juliet, the director seems to encourage his actors, many of whom are playing multiple roles and some in non-traditional genders, to delve deeply into their characters. This might be a deliberate choice, suggesting that these performers are fully immersing themselves in their roles to mirror contemporary society, where young adults grapple with a world increasingly polarized by older generations and teetering on the brink of chaos – a world where maintaining hope becomes an uphill battle.
As a devoted admirer, I’d say this contemporary adaptation of Shakespeare seems less about a strict reenactment and more about bridging the gap between the story and us, the younger generation. This is evident from the multitude of teenagers and young adults filling the auditoriums during previews, not to mention the hordes flocking to the stage door as soon as the actors take their well-deserved bows. Any effort that encourages youth to theater is a success, even if it means they’re encountering a slightly modified version of Shakespeare’s brilliance and eloquence. At least it’s our interpretation.
For individuals from the intended audience of various productions, the influence of social media and reality TV has sparked a yearning for active participation – wanting to be involved rather than mere spectators. The staging of R+J, performed in-the-round (similar to Gold’s acclaimed revival of An Enemy of the People this year), brings the audience closer to the action, and this intimacy is amplified when actors frequently move into the aisles.
Dots’ designs are characterized by minimalism, but their creative concepts for Juliet’s balcony and bedroom are exceptionally well-executed; a captivating moment occurs when the stage floor unexpectedly reveals a lush field of flowers; and lighting designer Isabella Byrd’s dramatic use of a crucifix made from intersecting rows of large headlights effectively sets a somber tone for the Capulet family crypt.
Initially, what stands out as they step out of their group, both of them being quite young, under 25 years old, is their youthfulness. Zegler, who was hand-picked by Steven Spielberg for his West Side Story remake and portrayed a younger Juliet, looks so small she could be mistaken for a high school student. On the other hand, Connor, known for playing the rugby-loving heartthrob in Netflix’s Heartstopper, who won our hearts by reciprocating his gay classmate’s feelings, is quite tall and robust. However, it’s important to note that he is indeed referred to as a “young man.
The most recent revival of Romeo and Juliet on Broadway struggled quickly, with leads Orlando Bloom (36) and Condola Rashad (27) in the roles. The age gap between them this time gives the characters an immediate sense of fragility, heightening our concern about their inevitable tragic endings.
A notable improvement in this production is custom music composed by Sarah Goldstone on a synth keyboard, with lyrics penned by Jack Antonoff – a Grammy-nominated artist who has contributed to numerous chart-topping songs for artists like Taylor Swift, Lorde, St. Vincent, Lana Del Rey, Florence + the Machine, Sia, Carly Rae Jepsen, and Kendrick Lamar, among others.
Whether you think the songs add much will depend, like everything else here, on the degree to which you submit to the revival’s giddy spirit. They include “Whiplash,” a party anthem for the Capulets’ masked ball; “Best Lie,” in which vain Count Paris (Gían Pérez), who vapes and wears a pink “Gift from God” T-shirt, demonstrates his shallowness; and “Man of the House,” a pretty ballad gorgeously sung by Zegler, in which Juliet articulates her love for Romeo: “How does it feel to be God? / I’m in the palm of your hand.” This is later reprised by Romeo, putting their emotional surrender on equal footing.
In this production, Sola Fadiran skillfully takes on the roles of both Juliet’s parents, seamlessly transitioning between characters. Initially, she portrays Capulet as a gracious host, later transforming into a stern father enforcing his rules when Juliet’s misdeeds are uncovered. Furthermore, she also plays Lady Capulet, initially flustered in her role as wedding planner, and later heartbroken and mournful as a mother grieving for her daughter.
Even though Verona’s feuding families, the Montagues and Capulets, share the same level of nobility (“Two families, equally distinguished”), the death of Romeo’s parents leaves only a few rough teenagers from the Montague family. Unintentionally or not, this creates a class divide in their longstanding animosity towards each other. This division is further emphasized by Connor’s working-class accent from South London.
The performance typically lasts approximately two hours and 25 minutes, including an intermission. However, once Romeo, along with his friends Mercutio (portrayed by Gabby Beans) and Benvolio (Taheen Modak), arrive uninvited at the Capulet party, the events begin to swiftly escalate in speed.
Romeo and Juliet solidify their love at first sight in the balcony scene and then, after their secret marriage, when her doting Nurse (Tommy Dorfman) arranges an assignation. Enraged by the Montague boys’ insolence in entering the Capulet palazzo, Juliet’s puffed-up cousin Tybalt (also Dorfman) slays Mercutio in a fight and Romeo avenges his friend by killing Tybalt. (The brawls are especially bloody here, though in an earlier skirmish, two male fighters from opposing sides amusingly pause for a heated lip-lock mid-fight.)
With Romeo being exiled from Verona, Juliet seeks the aid of Friar Laurence (once more). In a desperate attempt to bypass her parents’ restrictions and rejoin her husband, she consents to a deceitful plot involving a sleeping potion, which ultimately leads to a tragic turn of events within the family crypt.
The closing scene is powerfully enhanced by Byrd’s somber lighting and Antonoff’s background music, but I didn’t find it as emotionally impactful as this piece can be. (For a more devastating performance that truly captures the poetic essence of the script, watch the exceptional PBS production starring Josh O’Connor and Jessie Buckley.)
Among the outstanding performances in this production, Connor truly shines as Romeo, portraying innocence, impulsiveness, intense romantic joy, and heart-wrenching sorrow so authentically that it’s hard not to be moved. Zegler, although not quite equaling Connor’s fervor, skillfully balances Juliet’s ardent passion with a measured calmness. Unlike the impulsive Romeo, she appears more cognizant of their challenges, and her unwavering determination, even in the face of Tybalt’s death, her father’s threat to disown her, is touching and commendable.
Additionally in the cast, Beans, who is indispensable, brings a lively charm to his portrayal of Mercutio that leaves a void upon his untimely departure. Dorfman portrays the Nurse with humor and unyielding affection. Modak, on the other hand, infuses Benvolio with so much emotion that it’s regrettable he doesn’t have more scenes. In a secondary role, Modak also plays the shady Apothecary, who elicits laughter when he opens up a giant teddy bear to reveal his hidden cache of deadly poisons.
In this production, actors move not just along the rows but also across lofty scaffolds above, creating a whirlwind of chaos and energy that might confuse first-time viewers as they try to follow the storyline. However, theatergoers who recall their school days studying Romeo and Juliet or reminisce about their own first loves may find themselves captivated by the passionate romance, the corrosive hatred, and the inescapable fate.
Read More
Sorry. No data so far.
2024-10-25 06:25