"Romeo and Juliet" - by William Shakespeare - American Repertory Theatre (Cambridge, MA.) - REVIEW
(Cover Photo: Emilia Suárez as "Juliet" with Rudy Pankow as "Romeo" in a scene from the A.R.T. production of William Shakespeare's "ROMEO AND JULIET" now playing at the American Repertory Theater in Cambridge, MA. through October 6, 2024. Photo Credits: Nile Scott Studios and Maggie Hall)
By Kevin T. Baldwin
METRMAG Reviewer
# 774-242-6724
“I hear some noise. Lady, come from that nest Of death, contagion, and unnatural sleep.”
- ("Friar Lawrence") / William Shakespeare
American Repertory Theater
Presents William Shakespeare's
"ROMEO AND JULIET"
Directed by Diane Paulus
Movement Direction and Choreography Sidi Larbi Cherkaoui
Cast Includes: Terence Archie as “Lord Capulet,” Jason Bowen as “Prince,” Sharon Catherine Brown as “Nurse,” Bradley Dean as “Lord Montague” and “Friar John,” Brandon Dial as “Benvolio,” Adi Dixit as “Paris,” Terrence Mann as “Friar Laurence,” Abiola Obatolu as “Lady Montague,” Rudy Pankow as “Romeo,” Alex Ross as “Tybalt,” Will Savarese as “Abraham,” “Peter” and “Others,” Bernardo Sequeira as understudy for “Abraham,” “Peter” and “Others,” Adam Shaukat as “Sampson,” Clay Singer as “Mercutio,” Emilia Suárez as “Juliet,” Michael Torto as understudy for “Sampson” and “Others,” Nicole Villamil as “Lady Capulet”
Additional Creative Team:
Production Stage Manager - Melissa Chacón; Assistant Stage Managers - Dack Justiz, Em Nafz; Scenic Design - Amy Rubin; Costume Design - Emilio Sosa; Lighting Design - Jen Schriever; Sound Design - Daniel Lundberg; Composer - Alexandre Dai Castaing; Hair, Wig, and Makeup Design - J. Jared Janas; Fight Consultant - Thomas Schall; Intimacy Coordinator - Lauren Kiele DeLeon; Associate Choreographer - Marc Kimmelman; Casting - ARC Casting/Duncan Stewart, CSA & Jarrett Reiche.
Performances:
August 31, 2024 through October 6, 2024
(Contact Box Office for Exact Times)
The American Repertory Theater at Harvard University (A.R.T.)
Loeb Drama Center, 64 Brattle Street, Cambridge, MA 02138
COVID 19 PROTOCOLS
Contact Venue for Most Updated COVID-19 Safety Protocols and Information.
The American Repertory Theatre (A.R.T.) kicks off the new 2024-2025 Season with an admirable and intriguing staging of the immortal tale of two doomed lovers, "ROMEO AND JULIET" now playing in Cambridge.
This is a visually astonishing production of a tale with subject matter that has not weathered well in recent years.
Before the production even begins, one cannot help but notice a giant obelisk center stage, taking up much of the space, reminiscent of the iconic Stanley Kubrik film, "2001: A Space Odyssey."
After the story begins, though, the full functionality of that obelisk becomes quite apparent and many will be blown away by its ingenious design.
All technical elements, including the A.R.T. costumes, lighting and sound design make this a production that is both original and exuberant from the outset.
However, if you are among those who consider "ROMEO AND JULIET" one of Shakespeare's weaker plays, particularly because its two title protagonists are so vapid, immature and whiny, trust me, you are not alone.
No matter how any theatre has approached this material, its inherent weak story and archaic character flaws are apparent.
Supposedly, the plot is based on an Italian tale by Matteo Bandello and translated into verse as "The Tragical History of Romeus and Juliet" by Arthur Brooke in 1562 and retold in prose in "Palace of Pleasure" by William Painter in 1567.
Whatever the true origin story of "ROMEO AND JULIET," Shakespeare wove, fluffed and folded and nurtured the premise into that which most have come to know today, nearly 430 years later.
(Photo: Rudy Pankow as "Romeo" with Emilia Suárez as "Juliet" in a scene from the A.R.T. production of William Shakespeare's "ROMEO AND JULIET" now playing at the American Repertory Theater in Cambridge, MA. through October 6, 2024. Photo Credits: Nile Scott Studios and Maggie Hall)
When people speak of the ultimate love stories, oft times the conversation will come back around to "ROMEO AND JULIET."
In this latest visceral staging by A.R.T. the focus is expanded on the "two households" in Verona, Italy, as heralded at the outset by legendary Broadway veteran Terrence Mann appearing as "Friar Laurence" in the A.R.T. production.
If one considers a different premise here, though, for a moment: The play actually might actually be seen as a metaphor of how extinction arises as a result of our own arrogance.
Lord and Lady Capulet (played well by Terence Archie and Nicole Villamil) have secured a husband, Paris (Adi Dixit), for young daughter, Juliet (Emilia Suárez) to ensure the advancement of their line.
Dixit does a fine job with the character of Paris but, unfortunately, at least in this adaptation, the character is not given much to contribute.
There is little the character of Paris adds to this story and actually could have been reduced to a mere passing reference of a prospective husband, still achieving the same desired effect.
The same could be said of the character of "The Prince' - ably portrayed by Jason Bowen - yet ultimately merely serves to "bookend" much of the proceedings until the show's final moments.
As the end nears, it is the obtuse arrogance by the parents who have doomed their family lines to annihilation by trying to "hedge their bets" using their children to further their own legacies.
Terence Archie and Nicole Villamil embrace the roles of self-absorbed parents who perceive their teenage daughter more as a prop than as a human being.
Archie brings a marvelous element of instability to the mindset of Lord Capulet, who's level of arrogance, fluctuating temper and mood swings can each change within an instant.
(Photo: Sharon Catherine Brown as "Nurse" with Emilia Suárez as "Juliet" in a scene from the A.R.T. production of William Shakespeare's "ROMEO AND JULIET" now playing at the American Repertory Theater in Cambridge, MA. through October 6, 2024. Photo Credits: Nile Scott Studios and Maggie Hall)
The Capulets hold a party where Juliet accidentally encounters recently dumped Romeo (Rudy Pankow) and instantly their fates (in fact, ALL fates), are sealed.
Pankow is excellent as the dashing but jejune Romeo, who is from the feuding house of Montague.
Together with best friend, Mercutio (Clay Singer) and Romeo's cousin, Benvolio (Brandon Dial), the trio crash the Capulet party in effort to cheer up despondent (whiny) Romeo.
Romeo is in utter torment having just lost his girlfriend "Rosaline" - yet she becomes instantly forgotten just as soon as Romeo meets the fair Juliet.
If that seems quick, it is - and this absurd plot point is also acknowledged later by the Friar in an intense exchange with the immature young Romeo.
In fact, the rather accelerated turnaround for all the events taking place this story is bizarrely quick.
Why additional time could not have been invested to allow for certain events to unfold in fair Verona is deserving of more speculation. It would have also allowed the Bard to expand upon some of the supporting character's backstories and motivations.
Yet, some might argue that it is the lack of the above which allows each actor and directors to explore various interpretive opportunities within the Shakespearean text.
(Photo: Emilia Suárez as "Juliet" with Rudy Pankow as "Romeo" in a scene from the A.R.T. production of William Shakespeare's "ROMEO AND JULIET" now playing at the American Repertory Theater in Cambridge, MA. through October 6, 2024. Photo Credits: Nile Scott Studios and Maggie Hall)
The A.R.T. production stage direction by Diane Paulus allows for an elevation of some of what could be considered almost "throwaway characters" in the famed story.
Singer and Dial are both hilarious as the supportive friends of Romeo but soon learn their allegiance to him is fatal.
Brandon Dial as "Benvolio" elicits a generous dose of compassion as he watches the events of the story unfold, yet unable to impact much of the trajectory of events. In effect, he becomes much of the audience's P.O.V.
Singer, as the steadfast, loyal Mercutio appears to have been given the unenviable task of approaching his ill-fated character in the much more manic style of Robin Williams - and does so brilliantly.
Both Pankow and Suárez are fine in their respective title roles, yet the edge is slightly in favor of Suárez, who manifests a genuine authenticity in the approach taken to Juliet's lines, making us feel as if the actress is playing to actual age of the teenage Juliet character.
In his text, however, Shakespeare has seemingly used the doomed couple as a catalyst of more tragic events rather than being the event.
As the tragedy unfolds, among the collateral damage is Juliet's cousin, Tybalt, an imposing figure meticulously played by Alex Ross.
(Photo: Rudy Pankow as "Romeo" with Terrence Mann as "Friar Laurence" in a scene from the A.R.T. production of William Shakespeare's "ROMEO AND JULIET" now playing at the American Repertory Theater in Cambridge, MA. through October 6, 2024. Photo Credits: Nile Scott Studios and Maggie Hall)
As a result of their defiance of societal rules, especially those handed down by Juliet's parents, the duo travel down a road that comes to a dead end...for nearly everyone.
Terrence Mann and Sharon Catherine Brown are unwavering as the secretly married lovers' only true allies, yet warn that their hasty marriage might ultimately lead to tragedy if not handled carefully, and tragedy is looming on the horizon.
As Friar Laurence, Terrence Mann thoroughly impresses, taking some seemingly small, routine or even mundane activities on stage and making them anything but.
Costumed as if he is Tommy Chong channeling "The Big Lebowski" the Friar sternly advises Romeo to temper his extreme passion for Juliet.
Similarly impressing as the compassionate Nurse to Juliet, Sharon Catherine Brown also has been given a number of more humorous moments in the show's first act, delivering spectacularly.
Another pleasant surprise is actor Will Savarese taking on other "throwaway" supporting characters ("Peter" and "Abraham") and making them far more memorable than one might see in observing other iterations of the story.
(Photo: Clay Singer as "Mercutio," Rudy Pankow as "Romeo" and Brandon Dial as "Benvolio" in a scene from the A.R.T. production of William Shakespeare's "ROMEO AND JULIET" now playing at the American Repertory Theater in Cambridge, MA. through October 6, 2024. Photo Credits: Nile Scott Studios and Maggie Hall)
As to the approach taken to the overall text, A.R.T. director Paulus has staged a faithful adaptation that both adheres to the Bard's text yet heightens in distinct areas.
The first act elevates some of the humor not normally associated with some of the lines, allowing for many of the show's lighter moments.
Conversely, the second act is straightforward in its approach to the tragedy and sorrow that ends the saga.
However, the second act is also where some of the best technical elements, especially with the set and lighting/sound, can be observed.
The show's "epilogue" seems to take a page out of the Book of Ecclesiastes, allowing the idea that a sprouting of hope may actually emerge from an otherwise hopeless situation.
Only time will tell.
"ROMEO AND JULIET" at American Repertory Theater continues in Cambridge until October 6th and, to paraphrase the Bard, "Let Saint Francis be thy speed" as you make your way in to see this marvelously inventive production.
Up next at A.R.T. will be "DIARY OF A TAP DANCER" by Ayodele Casel beginning December 12, 2024.
For tickets and more information, visit AmericanRepertoryTheater.org
Approximately two hours, 45 minutes with one intermission.
Kevin T. Baldwin is a member of the American Theatre Critics Association (ATCA)
@MetrmagReviews
@Theatre_Critics
ABOUT THE SHOW
AMERICAN REPERTORY THEATRE (A.R.T.) at Harvard University will produce William Shakespeare's "ROMEO AND JULIET" in September 2024.
It will be helmed by A.R.T. Tony Award-winning Artistic Director Diane Paulus and feature movement direction and choreography by two-time Olivier Award winner Sidi Larbi Cherkaoui.
It will be the pair’s first collaboration since "Jagged Little Pill," which premiered at A.R.T. in May, 2018.
Shakespeare's "ROMEO AND JULIET" is a love story for the ages.
The Capulet and Montague households have been embroiled in a bloody fight for as long as anyone in Verona, Italy can remember.
The death toll is mounting, and it seems that the best thing anyone can do is keep the two sides as far from each other as possible.
But when young Romeo Montague crashes the Capulet ball, he falls head-over-heels in love with young Juliet Capulet – and she falls just as in love with him.
What ensues is one of the most romantic and devastating love stories in the theatrical canon. (STAGEAGENT)
ABOUT THE AMERICAN REPERTORY THEATER
MISSION
THE AMERICAN REPERTORY THEATER at Harvard University is dedicated to expanding the boundaries of theater, always including the audience as a partner.
VISION
We focus on the research and development of groundbreaking theatrical experiences that catalyze dialogue and transformation. We believe that by engaging our hearts, minds, and bodies, theater has the power to heal and imagine collective pathways forward. We commit to advancing public health in our practice and our programming, recognizing that racism in America is a national public health crisis. Our new home in Allston will be a breathable and healthy building envisioned as a town hall for the twenty-first century. Inspired by the model of a teaching hospital, the building will be a vibrant center for research, experiential pedagogy, and performance. We build community with our audiences, artists, students, staff, and neighbors across Greater Boston, embracing theater’s power to cultivate the full breadth and beauty of our shared humanity. We affirm and celebrate a multitude of perspectives and experiences that reflect the diversity of our country and world. We are dedicated to making a welcoming and accessible space for people of any identity, background, or ability.
VALUES
We hold the institution and each other responsible and accountable for living our shared values. There is no hierarchy to these values; they are all equally important and interrelated. We acknowledge that as an institution we must devote time to implementing and sustaining these values:
We center anti-racism
Habituate anti-racist practices in our policies, structure, and culture
We lead with inquiry
Ask questions in a spirit of brave curiosity in our never-ending journey of learning and growth
We believe in collaboration
Work together with trust and respect to unlock collective creativity
We practice adaptability
Challenge assumptions and create capacity to support “next” practices
We embrace regenerative practice
Promote the health and vitality of our planet, our organization, and each other
