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| Kyle Sorrell and Sasha Wilson photo by Laura Durant |
The romance of Shakespeare's Romeo and Juliet conjures the image of some of the most well known lovers in history. The story of two star crossed lovers, denied their love by fighting families, tugs at the heart of every young lover. It's natural to assume that with Valentine's season right around the corner, a trip to the theater to experience Romeo and Juliet would leave one feeling young and in love.
However, brilliantly in an unexpected contrast, this isn’t the case for Southwest Shakespeare’s Romeo and Juliet. It is clear from the moment the audience enters director Patrick Walsh’s production, this take on the classic play is a traditional tragedy and not a fairy tale romance.
Hints of this jagged romance are noted even before the production starts, as one enters the theater the audience is pushed back by an intrusive thrust-stage, made of multi-layers of rock that climb upward. These layers are split down the middle, as if to whisper the divide between the two famous quarreling families, the Montagues and the Capulets.
Technically speaking, this style is reminiscent of the authenticity of Shakespeare’s Globe Theater, where audience members known as “groundlings” would spend the production looking up at the actors from the grounds of the theater. SSC's production causes the same physical reaction, as audience members are forced to look up at actors moving up and down this rocky stage; an especially enjoyable, and dangerously thrilling experience during the fight scenes, choreographed by Randy Messersmith. Audible gasps are heard from the audience as actors slice swords through the air, dancing up and down the rocky stage.
Bold artistic choices on this traditional romance are also made by scenic designer Jeff Thompson, costume designer Maci Holster, lighting designer, Kristen Peterson, and hair and makeup designer, Christy Lindsay. Clearly, this team worked together to convey an undaunted approach at the classic tale. No ball gowns, royal rooms, or falling red roses are used in this production. Instead, actors wear stiff Asian-style kimonos over plain black pants and white shirts with color schemes associated with their tribe colors of the Montagues and the Capulets.
The boyish blue color scheme of the Montagues and romantic red for the Capulets almost jabs the audience upon entering the theater, where three pillars with family colored flags stand tall at the top of the bedrock stage. Astutely, these six pillars hold little crosses at the bottom, just large enough for a character to place their kimono upon after their death, as one would place a pebble on a grave for remembrance. Once a character is killed, the presence of death looms over what was once a romantic tale, for the ghost of the character still lingers on stage, kimono flying on the skeleton of the Montague, or Capulet flag.
An additional artistic treat is Peterson's use of red lights, and fog flooding the stage during romantic moments and fight scenes. Crimson red lighting allows the passion of these moments to seduce the audience.
Director Walsh’s take on this piece is visually striking and also a treat for the ear. The show features a live cello player (Ben Vining) whose presence brings the play back to its Elizabethan roots. Vining’s emotional playing scores the entire play, singing along the sweet sounds of a lark, and auditorily reflecting tragic undertones. Whether the fate of a character is good or bad, one simply needs to listen to Vining’s original cello score to foresee their future.
Yet, there are moments when both cello and synthetic nature sounds are heard simultaneously which, at times feels almost like an awkward cacophony of sound. The use of artificial sounds is an insult when the use of a live cello is so easily accessible. However, this is redeemed through beautiful, natural breath exhales, peppered in throughout poignant moments in the piece.
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Jodie Weiss and Sasha Wilson
photo by Laura Durant
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Surprisingly, most compelling are several members of the ensemble. Michael Bailey’s Friar Lawrence’s excellent diction and performance provides a calm, selfless love creatively juxtaposing the sometimes selfish love of Romeo and Juliet. Juliet's Nurse, played by Jodie Weiss, teases the audience with her wit, begging us for more. Weiss’s Nurse is so fascinating to watch, one could fathom an entire, “Nurse and Juliet” show and be completely entertained and satisfied. This is especially true when Weiss’s Nurse joins Romeo, and his fellow Montague’s, Mercutio (Spencer Dooley) and Benvolio (Rachelle Dart) to ask about Juliet, a scene usually not memorable, but the playful nature between Mercutio, Benvolio, and the Nurse made one wish this interaction were longer. This playful nature is extraordinarily delightful from Dart’s Benvolio; who’s mischievous, flirtatious, and tongue-in-cheek portrayal of the role makes one almost forget Walsh’s dark undertones for the piece. Act two then reveals genuine tears from Dart’s Benvolio for her comrade and cousin Romeo, tugging at one's heartstrings rivaling that of the romance between Romeo and Juliet. Once again brilliantly proving the real foundation of this story through SSC’s portrayal is a mournful tragedy.
Unfortunately, a few critical moments of this historic play are sadly lost to poor enunciation. Lord Capulet (Mike Traylor) and Montague the Matriarch (Karolina Jozwiak) could have taken a note from Shakespeare himself in Hamlet, when Hamlet says to his actors, “Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue.” Hamlet here, referring to one's diction and projection on stage.
From mannequins that fly onstage, hauntingly lit with fairy lights and draped in robes of glorious silks for the dance, to visually stimulating costumes, to the dazzling fight choreography, it's clear director Patrick Walsh’s Southwest Shakespeare's production of Romeo and Juliet is as much a play as it is a visual art masterpiece.
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