Two star-crossed lovers. Emotionally together but physically separate. The longing, the need, the passion, all portrayed to different extents in the many versions of Shakespeare’s “Romeo and Juliet”. What makes David Leveaux’s production of “Romeo and Juliet” at the Richard Rodgers Theater different? He puts his audience on the edges of their seats–literally. The play starts with a classic boom with smoke and fire, eliciting gasps of surprise from the audience (myself included). Brent Carver, who plays Friar Laurence, greets us in Elizabethan speech and humors us by understating the next two and a half hours of our lives: watching the unfortunate tale of Romeo (Orlando Bloom) and Juliet (Condola Rashad). Though clichéd and rushed at times, the use of stage and comedy makes this production enjoyable to watch.
In terms of appearance, the Montagues have more of an edge. The hoodies, leather jackets, ripped jeans and combat boots convey a modern “bad boy” feel. On the other hand, the Capulets elude elegance in their presence. The women wear long, flowy dresses of assorted colors while the men are dressed in suits. They are also barefoot half the time allowing for more graceful movements in comparison to the rough movements of the Montagues sporting chunky combat boots. Though these differences effectively assert the polar opposites in the family background of Romeo and Juliet, I find this cliché. The idea of an innocent girl falling for the “bad boy” has been used in a countless number of movies and books. There is also a racial “black and white” difference between Orlando Bloom’s and Condola Rashad’s ethnicity which is too literal for me to find original.
Not only is David Leveaux’s concept of Romeo and Juliet cliché, so is the entrance of Orlando Bloom. It is both exciting and overly dramatic. He makes his first appearance on stage by revving a motorcycle and driving it in three circles before finally stopping to take his helmet off. Of course, the crowd erupts into cheers and claps in recognition of this talented star. This creates a significant pause in the play before resuming, which I find awkward. He deserves applause for his reputable acting skills, but his entrance was so over the top that there seemed to be a break in the performance. It disconnects the audience from the play and makes us feel like bystanders rather than being a part of it. Also, revving around in circles embracing the applause is too egotistical for my taste. How much more stereotypical can the concept of the “bad boy” get than by riding a motorcycle? It is not even used anywhere else in the play.
The timing of “Romeo and Juliet” could have been better planned. The crescendo to the climax takes too long, leaving the audience unentertained. The death of Mercutio is poorly executed–he runs away cradling his bloody finger and is pronounced dead several minutes later, which I find unrealistic. Romeo then kills Tybalt creating another sudden casualty. The audience has very little time to register both of their deaths. From there, another long hour passes until we finally reach Romeo and Juliet’s decisions to intake poison.
Although the use of stage props is scarce, it amplifies the meaning of each prop used. Sand covers the outermost edges of the stage. There are a few chairs in the back corner and a large bell that descends when needed. A large wall covered in Renaissance like paintings of women and graffiti changes between every scene. I find the set decorator, Jesse Poleshuck’s use of the wall both smart and significant. It is able to separate into three sliding pieces, creating scenes that never look the same. Sometimes, two pieces are used to establish different point of views. When the pieces are close together, it creates a sense of privacy and secrecy while wide spaces feel more lively and inviting. The wall is also used to show a division of rooms, efficiently utilizing the limited space available on stage.
An original aspect I do enjoy is David Leveaux’s incorporation of comedic relief. Since the tale is a tragedy, comedic relief helps the audience feel more at ease. Spontaneous acts of humor are carefully incorporated into the script to make them believable. This is the first time I have seen Juliet’s personality show qualities of wit and sarcasm. The funniest character is definitely Christian Camargo, who plays Mercutio. His inappropriate behavior and his tendency to talk lightly about sex never fail to draw laughter from the audience. A close second is Jayne Houdyshell, who plays the Nurse. Though she is surprisingly sassy, it is easy to like her loving personality. Whenever jokes are made, the audience laughs freely instead of feeling forced to awkwardly laugh.
Though the play could use improvements towards time management and originality, it is still enjoyable. From the moments of sweet passion between Orlando Bloom and Condola Rashad to the heated fights amid the Capulets and the Montagues, “Romeo and Juliet” is the play to watch if you or your friends are craving something romantic. Plus, Orlando Bloom’s a cutie.
