The Broadway Theatre Review: Romeo + Juliet

By Ross

The heat inside the circle picks up, and the actors, milling about and horsing around with shopping carts and teddy bears, come alive with the beat. They bounce with youthful enthusiasm, introducing themselves, one by one, to the rhythm of the music supplied by musician Jack Antonoff (Bleachers), like acrobats at the circus, or musicians in a band. It’s an energetic creation, this retelling of William Shakespeare’s Romeo + Juliet as directed with a youthful spirit by Sam Gold (Broadway’s A Doll’s House, Part 2), but, to be frank, beyond one stellar performance, I’m not sure I can easily say the third time‘s a charm. I saw a production at the Stratford Festival this summer, performed in full classic mode, with colorful tights and all. It did not wow me. But the production I saw in the West End directed by Sunset Blvd‘s Jamie Lloyd and starring movie star Tom Holland, was the one to beat (you can read my review here). It was creative, thoughtful, and modern, in a way that I was thirsty for, just days after seeing the classic version at Stratford. But inside this Broadway revival of Romeo + Juliet, beyond Heartstopper‘s Kit Connor (The Old Vic’s Fanny & Alexander) magnificence, who finds clarity and intense emotionality in the text, this production does not kiss by the book. But it doesn’t completely disappoint either.

With movement and choreography by Sonya Tayeh (Broadway’s Moulin Rouge!) leading us up, over, and within the Circle in the Square stage, and a microphone holding Prince setting the scene, Gold’s Romeo + Juliet breaks the monologue mold and gives us an energy that is at first vibrant, when a pair of star-crossed lovers, played by celebrities, unleashes their parents rage destructively. Aggressively portrayed by a very determined Gabby Bean (LCT’s The Skin of Our Teeth), her Prince, as well as her Mercutio and Friar, take their rightful place, rounding the set with determination. It’s compelling, although a bit pressurized, as if she is wrangling a bunch of adolescents to the table for some learning. “Do you quarrel sir“, says one teenage boy to another, each living their lives within the opposing camps of Montagues and Capulets, and dealing with the difficulty of being a man of reason within, and not a man of violence. It’s all testosterone and intense high jinks, played by a crew of young actors wrestling with themselves like only teenagers can.

Hyperactive and manic, this Romeo + Juliet finds its stable center with the arrival on stage of impossibly good Connor, giving us exactly what we need from his reading. It’s remarkable in its depth, and in a way that overshadows most, especially the weaker Rachel Zegler (Spielberg’s West Side Story) as his beloved Juliet. Staged with vaping hyperbole, designed by dots (Broadway’s Oh, Mary!), with solid lighting by Isabella Byrd (Broadway’s Cabaret) and a hectic sound and music supervision by Cody Spencer (Broadway’s The Outsiders), Shakespeare’s text is handled with casual speed, throwing the lines at us with heaving breath in order to show us intensity. “Thou talks of nothing” it is said, riding fast through the moment as if the light of the morning was racing towards them all, but the beats hit strong against the glittering gowns, suits, and crowds, begging for us to see its energy, even at the small expense of text and meaning.

A few of the actor pairings only added to the complex confusing conjuring, especially with Tommy Dorfman (Off-Broadway’s Daddy) taking on both Tybal/The Nurse most awkwardly. The disconnect and alternate stances aren’t strong enough in the formulations to sustain the framing, while Sola Fadiran (Broadway’s Camelot) unconvincing attempt to portray both Capulet and Lady Capulet in an over-the-top fashion for no apparent reason. Taheen Modak (Old Vic’s Pygmalion) has a better time with his Benvolio/Apothecary role, digging into the muscular mystery in the dark shadows of the space. Understudy Daniel Velez (Julliard’s Henry IV, Part 1), dynamically embodying Paris/Samson/Peter, roles usually portrayed by Gían Pérez, gives us a different vantage point to take in the good and noble Paris, in a way that gave me joy and hope for the production. His Broadway debut is worthy of the applause he was given that night.

There’s a lot going on, with the cast igniting the space above and about the stage. It’s bursting with teenage lust and rebellion as they run circles in the rafters and the audience, but in the quieter moments, when Connor’s Romeo unpacks his love and his torture, this Romeo + Juliet is lit up from within. It’s a shame that his Juliet never really feels like she owns the words she is speaking in the same way, especially when talking to herself. One would think after playing the musical version of this role in Spielberg’s West Side Story, this part would flow from within with authenticity and inner meaning, but the only time she truly feels invigorated by the framing is when she sings a touching song before the intermission. Other times, perched up high on a cutely designed bed that hangs from the ceiling, an interesting touch but one that destabilizes itself later on. But it does give Connor a chiseled chance to shine, as he lifts himself up to his Juliet, who, as performed by Zegler is more show than inner turmoil, and a bit of a disappointment.

Gold, returning to the Circle in the Square Theatre after a very successful adaptation of Enemy of the People, seems to be throwing lots of visual glitter our way for reasons unknown. When I saw Jaime Lloyd’s Romeo and Juliet in the West End, every choice made, even the most outrageous, seemed rooted in reason and a thoughtful concept. But here, the cast, which also includes Daniel Bravo Hernandez (Abraham/Friar John), Jasai Chase Owens (Gregory/Servingman), and Nihar Duvvuri (Balthazar), tends to spin around itself for mere spectacle rather than meaning. Why is a battle being played out on top of a flower bed? Is it only because they didn’t want to close up the impressive half-circle so quickly? Or they felt they needed the varying levels to make the battle more dynamic? This pivotal fight scene is one of the more clumsy moments of the staging as the colorful flowers don’t really read death and destruction. And too many moments are slowed down by the actors climbing up and climbing down levels that were not required. Also, why is the whole cast underneath the hanging bed as Romeo and Juliet consummate their marriage? Why is anyone else on that stage at all? Is it so the bed doesn’t start to swing? If so, that’s a problem that requires a different solution. These are just a few of the questions that were floating through my head during this production, taking me out of the emotionality of the moment, and that, I tell you, is not a good thing, especially for such a play.

I did appreciate the paring down of the crypt scene to the bare minimum. This, as Lloyd did in London, takes us to the main gist of the tragedy, without overwhelming the moment with more clever tricks and senseless reframings. Somewhere in this undertaking, with a refreshingly modern fluidity of gender, this Romeo + Juliet does its job fairly well, but left me unmoved. That is except for the moments Connor is given the full stage to speak his lines like no one else on that stage. He carries within his voice everything that we want from our Romeo, and delivers it to us in a heartstopping manner that elevates his cause. He’s worth the price of admission all on his own.