ROMEO + JULIET

Review by Celia Ipiotis

The minute you enter Circle in the Square, the place is jumpin’. That’s where Shakespeare’s Romeo + Juliet is vibing.  Spirited actors are hanging from the rafters, and racing up and down the aisles. Energetically re-thought by director Sam Gold, gender fluid folks in baggy pants, tank tops, cropped shirts, Dr. Marten boots and sneakers bounce to the beat while kicking around a precious teddy bear in a game of mock soccer. Before the tale of love and woe unfolds, the terrific Gabby Beans (Mercutio/Friar Lawrence) valiantly jogs around the circular platform calling out actors’ names and their roles. This ringside banter revs up the audience additionally spurred on by DJ Sarah Goldstone positioned high up in the audience overlooking the stage.

Action kicks in when the young Capulets and Montagues spill off the platform dissing each other. Youthful and snarky, the  cast comfortably engages in this sprawling tale of unbridled passions and boundless emotions. Soon, tempers snap, mini rumbles erupt and destinies are set.

Framed by a Brooklyn-like urban landscape and gorgeous bed of roses by designer Enver Chakartash, the non-stop action choreographed by Sonya Tayeh jams against Jack Antoff’s synth music.  Although focused on the star-crossed lovers, the show’s action resides in the dynamics stirred up between the quarreling families. All the cast members, with the exception of Romeo & Juliet, jauntily assume multiple roles. 

It is refreshing to see the theater packed with young folks very likely listening to Shakespeare for the very first time. Cromer hews to the original, but the actors deliver the lines in a street-wise, casual vernacular except for Kit Connor (Romeo). His comfort with the language is evident because the  iambic pentameter flows naturally off his tongue heightening his appeal. When the breathless balcony scene arrives, Romeo flings himself up to a high bar where he hangs, then pulls up his whole body to face Juliet for the kiss. 

Well, the audience goes wild. Squeals and gasps accompany the applauded gymnastics. Rachel Zegler, Juliet, is best known for her role as Maria in West Side Story–also, an updated Romeo & Juliet. Some large personalities stir up indelible images like Juliet’s imposing Mother/Father Sola Fadiran; the always incandescent Beans; Tommy Dorfman as the Nurse/Tybalt, and the amusing crooner Gían Pérez as Samson/Paris/Peter. Of all the actors, the beguiling Connor holds the stage best. As for Zegler, she comes alive when she sings and of course, when she falls into Connor’s passionate aura. Through Cromer and Taye’s collaboration, the word is clarified and emphasized through movement, a neat concept– one that would  benefit any Shakespeare production.

All the elements from the scenic design by dots,  to the lighting by Isabella Byrd, and sound design by Cody Spencer conspire to energize the abandonment of civility in the face of enmity.

If anything, Gold proves that, without messing with the 400+ year-old text, Shakespeare remains the language of youth, poetry and  love.

EYE ON THE ARTS, NY — Celia Ipiotis