The last time I reviewed a Shakespeare play starring the brave and gifted Sam Gold, I led with a cheeky question about the bowls of soup mixed by a collection of Macbeth (his invention). I won't repeat myself by asking many pale, pink bears from Gold's Romeo + Julieta devastating, pop score, a brat-summer spin on a lover's tragedy. Still, those ursine plushies don't need laborious explanation: They're tender tokens of childhood, to which young characters cling even as they fall into a whirlwind of sex and violence.
Focused toys flow from the shopping cart upside down in a visually appealing space designed with cleverly integrated dots. Nearby is a pink inflatable recliner. Later the top of the circular play area will blow away, revealing a field of blooming flowers. Bathed in Isabella Byrd's pulsing, red, and blue lights and pounding EDM beats from an onstage DJ (musician Jack Antonoff), Circle in the Square becomes a ravehouse. Placed on one side higher than the other is a (jumbo-size) teddy bear—its body is a hiding place for the contraband that Romeo bought in one disastrous location. Enver Chakartash's clothing ranges from flashy track suits to trendy streetwear. Vape characters, gender fluid, bi desire, and death guaranteed. Even if the story ends in tears, there is always time for a dance break or karaoke as Juliet entertains the guests at the Capulet party with words never dreamed of in Shakespeare's philosophy. “Every chance / One night / One way to heaven don't drink.” And hey-nonny-non to you, J-Cap.
Played by English TV hunk Kit Connor (Heartstopper) Romeo faces the child and is swollen. She's wearing a sea-through mesh top that shows off her buff, hairless body (yes, she's Kenough). Like Juliet, Rachel Zegler cuts a petite, gamine figure in a variety of skirts, croptops and mom jeans. The 23-year-old actress played Juliet's descendant, Maria, in Steven Spielberg's drama. West Side Storybut it reads young, a reminder that Juliet is not yet 14 years old. Fully aware of the brutal standards of modern medieval England, even Shakespeare allows that a girl is too young to marry and have children. (Republicans would agree to disagree.)
Connor is a small puppy and Zegler is a furry ferret. Imitation emphasizes the aspect of Romeo and Juliet which the text strongly supports: Romeo as a meathead and Juliet as a clever girl with an overactive imagination. Of course, in Shakespeare everyone is hyper-poetic when needed, but as the tragedy continues, Romeo often acts before thinking, and Juliet can allow thinking to interfere with the action. In any case, Gold's production does not push any idea other than the agitation of the youth: they are children, and the evil world eats the young. The frame of hyperpop is Gen Z in the form of Baz Luhrmann, who—let's face it—28 years ago left an indelible mark on that horned, hybrid youth. They all sit in the clerk's office.
Aside from Zoomer's window dressing, gold engages in thoughtful and humorous double acting. Sola Fadiran plays both Capulet and Lady Capulet, delicately distinguishing between husband and wife without overdoing gender stereotypes. Capulet's anger at Juliet's denial is very frightening. The completely electric Tommy Dorfman is a counter-study to Juliet's daffy, chatty nurse and cold-blooded killer Tybalt. Gían Pérez takes on various clown roles, such as the douchey Paris and the flawless Peter. The always amazing Gabby Beans plays both Mercutio and Friar Lawrence with amazing panache and humor. Both characters think they know what is best for Romeo but end up hastening his own destruction. Beans's Mercutio is an acid-tongued stoner with frequent shadows, while the friar is a gentle, optimistic person. He includes a third character who speaks the lines of the Chorus and delivers exasperated instructions from the Duke of Verona. The first act ends as a bloody brawl on a bed of flowers to combine the horror of brutality with romance. Choreographer Sonya Tayeh gives the move her signature mix of muscle and abandon. In the final scene (which is a little rushed perhaps so that Gold can keep the action more or less two hours) Romeo and Juliet die playing over each other. Their cruciform position reflects a large LED cross on the wall behind the DJ. It's a nice table, but nothing too deep. You can say the same and other guides are flourishing, but they are not easily ignored, because the language is well presented and the collection is attractive. It's the least boring or cringe Shakespeare I've seen in a long time.
Looking back at his Hamlet, Othello, Lear, MacbethI'd say Gold has a mixed record with major disasters (watch out, Titus!). I will remember this one well. Instead of leaving with questions, I left with a new language. Capulet pulls out a plastic gallon jug filled with red liquid. In his last, desperate act, Romeo washes off the poisonous powder by swiping it in a jug. The thing in question is called a The BORG-that's the Black Out Rage Gallon-a popular scam on college campuses. So when you see middle-aged theater critics referencing BORGs, you'll know where they got it. Knowledge is power, kids.
Romeo + Juliet | 2 hours 25 minutes. One break. | Circle In The Square Theater | 1633 Broadway | 212-239-6200 | Buy Tickets Here
