Reviewed by Judy Richter
One reason why the plays of William
Shakespeare have
survived and thrived for some four centuries is their beautiful language.
Another is the eternal nature of their central themes. Both are clearly seen in
the California Shakespeare Theater season-opening production of "Romeo and Juliet." Artistic director Jonathan
Moscone has
staged it in modern-day dress (costumes by Raquel M. Barreto), thus emphasizing its
timeliness.
The
setting on the outdoor stage is Verona, Italy, but it could be any city that
suffers from gang violence. In this case, the "gangs" are the
Capulets and Montagues, two noble families that have a bitter rivalry that
spills into the streets. Very early in the play, the younger members of the two
families meet on the street, exchange insults, and before you know it, a fight
breaks out. Remaining true to the text, swords become switch blades rather than
today's weapon of choice, guns. Still, the fighting later ends in bloodshed and
death.
In
the meantime, two impetuous teenagers -- nothing new there -- meet and fall in
love. Unfortunately for them, 13-year-old Juliet (Sarah Nealis) is a Capulet, while young Romeo
(Alex Morf)
is a Montague. It takes their tragic deaths to move the warring families to
reconciliation.
Neil
Patel's set
(with lighting by Russell H. Champa) is dominated by a graffiti-scarred wall with a
staircase and one opening to accommodate the balcony scene. Furnishings are
minimal: a bed, a statue of the Virgin Mary and some chairs. The younger
generation wears clothing that would blend in on almost any high school campus
today, while their elders wear business attire.
Nealis
is an appealingly girlish Juliet with emotions evolving from giddiness to
determination. Her Romeo, Morf, is less effective as Romeo, especially as the
play continues and he expresses his sorrows in a high, whiny voice. Featured as
Romeo's younger relatives are Jud Williford as a skinhead Mercutio and Thomas
Azar as the the
more rational Benvolio. Juliet's younger relatives are led by Craig Marker as Tybalt, who wears a business
suit like the elders but who seems to be a ringleader in the troubles. Her
family-approved suitor, Liam Vincent as Paris, also wears business attire. In this
interpretation, he seems to have more of a dark side than seen in some other
productions, where he's more benign.
The
elders are solid throughout the cast with Julian López-Morillas trying to keep peace as the
Prince, Dan Hiatt as
the kindly Friar Lawrence, Romeo's spiritual adviser and ally to the young
couple; Catherine Castellanos as Juliet's nattering Nurse and in the smaller role of
Lady Montague; and L. Peter Callender as Montague. James Carpenter is a forceful Capulet, who turns
from loving father to tyrant as he tries to force Juliet to marry Paris. Julie
Eccles is well
paired with him as Lady Capulet. The sound is by Andre Pluess, with Marybeth Cavanaugh serving as choreographer and Dave
Maier as fight
director.
Moscone
directs with a sure hand. In one of his more interesting moves, he overlaps the
scenes when Friar Lawrence tells Romeo and the Nurse tells Juliet that Romeo
has been banished for slaying Tybalt. It emphasizes how much the two youngsters
love each other as well as their youthful inability to see beyond the emotion
of the moment.
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