Romeo and Juliet, Folger Theatre, Washington, DC

 

Cole Taylor as Romeo and Caro Reyes Rivera as Juliet in William Shakespeare's Romeo and Juliet, directed by Raymond O. Caldwell, on stage at the Folger Theatre, October 1-November 10, 2024. Photo by Erika Nizborski.

Entering the Folger Theatre for its current production of Romeo and Juliet, we see (and hear) a variety of clips of characters in the play giving what appear to be political speeches drawing distinctions between the “red state” (conservative) Capulets and the “blue state” (liberal) Montagues. Their sound is somewhat unusual, not the “normal” sentence structure and syntax that we might expect. The program notes that, with the help of artificial intelligence (AI), these speeches have been adapted from recent speeches by contemporary politicians. In essence, then, we are hearing Shakespeare-ized language, making it clear that the Capulets and Montagues are bitterly divided.

As the play begins, we plunge right into the combative relationships between the families portrayed by this multi-racial, multi-cultural, often bilingual cast, with women taking on some of the male characters. Even so, these are some of the most familiar characters in dramatic literature, now set in a contemporary moment. Director Raymond O. Caldwell goes “all in” to contemporize the production: cell phones proliferate, projections are extensively used, the Prince breaks up a fight using a bullhorn, and Romeo even receives a parcel in Amazon wrapping.

Most of the time, the updating works, largely due to the commitment of the performers. Shakespeare wrote Juliet as an innocent 13-year-old and Romeo not much older, which makes some of the action troublesome (Romeo’s drinking from a flask, for example, and the apparent use of cocaine by Juliet and others). The decision to have Juliet, her mother, and the nurse as Spanish-speakers is plausible in context, and while the general emotions of the characters are amply conveyed, non-Spanish speakers in the audience (including me) miss some details.

One thing the production captures beautifully is the onset of the romance between the title characters. As played by Cole Taylor and Caro Reyes Rivera, there is a youthful exuberance, a light-headed joy, a palpable sense of giddiness and earnestness, but also a sweet tenderness in their fascination with each other and in love itself. The two actors are well-matched and entirely believable. Despite the fact that we know, going in, that their relationship is to be extremely short-term, we root for them to succeed.

Another triumph is the staging of the fight scenes, conducted with switchblades rather than swords. The execution of the intricate fight choreography (by Robb Hunter) is among the best I have ever seen. Special kudos to Giovanna Alcantara Drummond as the fiery Mercutio and Alina Collins Maldonado as the hot-tempered Tybalt, as well as Taylor’s Romeo.


Fran Tapia as Lady Capulet, Caro Reyes Rivera as Juliet, and Luz Nicolas as the Nurse in William Shakespeare's Romeo and Juliet, directed by Raymond O. Caldwell, on stage at the Folger Theatre, October 1-November 20, 2024. Photo by Erika Nizborski,

Brandon Carter provides Friar Lawrence with both sympathy and reason as he attempts to aid the young lovers. John Floyd demonstrates gravitas as Benvolio. Todd Scofield is unexpectedly and fiercely violent as Lord Capulet, in contrast to Fran Tapia as his wife and Juliet’s doting but somewhat clueless mother. (Tapia also supplies several vocals, including a mournful rendition of “I Can’t Help Falling in Love with You.”) Luz Nicolas as the Nurse nicely straddles the line between devotion to and concern for Juliet (or Julietta, as the Nurse calls her) and is responsible for some of the lighter moments in the play. Gabriel Alejandro captures Paris’s pomposity and Deidra Lawan Starnes is authoritative as the Prince. Tony Nam and Renee Elizabeth Wilson as Lord and Lady Montague are alternately combative and sympathetic, as required.  

Director Caldwell’s vision for the production relies on the expert contributions of his creative team. Tiffany Quinn supplies the choreography. Jonathan Dahm Robertson’s scenic design makes good use of the space. Jeannette Christensen’s costume designs include everything from streetwear to luxurious gowns, all of which fit every moment and enhance the characterizations. Alberto Segarra’s lighting design underscores the action and mood. Matthew M. Nielson’s musical compositions and sound design enhance and bridge the various scenes. My only quibble with the design elements is the difficulty seeing many of the projections (designed by Kelly Colburn) from where I was sitting (far to house left), which had poor sightlines for some of the action (and projections) upstage or high on the stage, as much an issue with the design of the theatre as anything else.

Playwright Caleen Sinnette Jennings is credited as “adaptor” for this production. I am not quite sure what that means, though I recognize that some characters were deleted and the running time was held to approximately 2 hours and 15 minutes. Rosa Garay Lopez, billed as translator and interpreter, also made significant contributions.

Romeo and Juliet continues at the Folger through November 10. If you have not seen the play onstage (and after numerous decades of theatre-going, this was the first time for me), take advantage of this extraordinary opportunity. 


Brandon Carter as Friar Lawrence, Caro Reyes Rivera as Juliet, and Cole Taylor as Romeo in William Shakespeare's Romeo and Juliet, directed by Raymond O. Caldwell, on stage at the Folger Theatre, October 1-November10, 2024. Ohoto by Erika Nizborski,

Comments

Post a Comment

Popular posts from this blog

POTUS, Fichandler Theatre, Arena Stage, Washington, DC

Image
  Kelly McAndrew, Megan Hill, Sarah-Anne Martinez, Natalya Lynette Rathnam, Felicia Curry, Yesenia Iglesias, and Naomi Jacobson in  POTUS  at Arena Stage. Photo by Kian McKellar. The program for POTUS: or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive by Selina Fillinger, currently on-stage at Arena Stage’s Fichandler Theatre (through November 12), describes the play’s setting as: The White House. Perhaps not the current administration, exactly – but broad strokes of past presidents, combined with stress diagrams of future ones. And if we’re being honest, an amalgamation of them all… How does someone satirize contemporary politics when reality often stretches the imagination? How can a playwright create a situation that is even more absurd and bizarre than those we’ve lived through in the past 25 years or so and/or are currently experiencing? In retrospect, some of the plot twists that seemed unthinkable on recent series such as “Veep” and “House of Cards
Read more

The Drowsy Chaperone, Shenandoah Summer Music Theatre, Winchester, VA

Image
  The cast of The Drowsy Chaperone at Shenandoah Summer Music Theatre. (Photo credit: C King Media and SSMTVA.) My first trip to see a show at the Shenandoah Summer Music Theatre (SSMT) in Winchester, Virginia, will not be my last. The Drowsy Chaperone , their current offering (through July 14), was the perfect antidote to the sweltering heat of a July afternoon. It is a rare gem among musicals, totally original, not based on a book, play, movie, or the “greatest hits” of some musician. SSMT gives it just the kind of “lighter than air” production it deserves. We meet “the Man in the Chair,” who addresses us, at first, from the dark. He’s agoraphobic, feeling a little “blue,” in his New York apartment. He seeks some relief by playing the recording of one of his favorite musicals from the 1920s, The Drowsy Chaperone . He recounts the well-worn plot of that show, which is brought to life by the actors who made it famous, and we are treated to the delicious parody that ensues. We are at th
Read more

Unknown Soldier, Kreeger Theatre, Arena Stage, Washington, DC

Image
  Lora Lee Gayer and Adam Chanler-Berat in Unknown Soldier . Photo credit: Teresa Castracane. I first saw Judy Kuhn on the Broadway stage in August 1986, when she co-starred in the far-too-abbreviated run of the Stephen Schwartz musical Rags . Later that season, she originated the role of Cosette in Les Mis érables , which had a decidedly longer run and brought her the first of her four Tony nominations. Now, more than 37 years later, she is playing a grandmother, Lucy Anderson, nee Lemay, in the current offering at Arena Stage, a new musical titled  Unknown Soldier. Her voice retains the same beautifully crystalline quality I remember so clearly from those two long-ago performances. Unknown Soldier , with book by Daniel Goldstein, music by Michael Friedman, and lyrics by both, tells the story of Ellen Rabinowitz, a 40-something physician preparing to sell her grandmother’s home where she grew up in Troy, New York. As she goes through endless old papers and photographs, she comes ac
Read more