Stage Review - Romeo and Juliet (Seattle Shakespeare)

Stage Review - Romeo and Juliet
Presented By: Seattle Shakespeare Company - Seattle, WA
Show Run: April 24 - May 12, 2024
Date Reviewed: Wednesday, May 01, 2024
Reviewed By: Greg Heilman

I can’t count the number of times that I’ve asked myself, “Why are they doing another Romeo and Juliet?”. The “they” is general, of course, but it seems like every season there’s a new Romeo and Juliet in the offing. What’s more, each of the productions try to do something different with it, usually involving a more modern scenic design, including sets and costuming, or setting the story in an environment that allows the particular show’s director to enhance the story with a new message. I’ve heard the argument from others, asking why this show can’t just be done in traditional attire rather than modernizing it, but something those people may not realize is that in Shakespeare’s time, actors wore what was modern for that day, there were no “period costumes” in the majority of the tellings. It follows, then, that there is no real requirement for Shakespeare, and specifically Romeo and Juliet, to be presented in a particular way. In fact, for a story that is so familiar that most already know the plot, the question becomes how directors can make it unique, and the answer usually is by modernizing the setting while at the same time keeping as much of the original text and intention of the story as they can. All that said, I’ve been critical in the past of productions that go too far in this uniqueness, where messaging through setting and design overshadows the heart of the story. Exactly what I’ve been looking for, though, has heretofore eluded me. I’ve always known what I didn’t like, but wasn’t sure what it was I wanted to see. That is, until Wednesday evening at the Center Theatre at Seattle Center and the Seattle Shakespeare production of Romeo and Juliet. This is a production that modernizes the setting, sure, but the story is first and foremost, the acting is beautiful and passionate, and the tragedy of it all hits as hard as any version of Romeo and Juliet that I’ve seen.

The show is directed by Sheila Daniels and she has presented this story truly, but with flair. And the creative team that she has put together excels in all aspects of the production. Robin Macartney’s set resembles an industrial warehouse space, with large set pieces that are like building blocks, moving around the stage to depict anything from Juliet’s bed or balcony, to the Capulet crypt. Frosted glass panes toward the back of the stage serve to provide shadowing for actors approaching certain areas on set, and each prop on this industrialized set serves a purpose, nothing is left out. The design is made all that much better through the use of light and sound. On the lighting side, under the care of Matthew McCarren, there’s a general darkness to everything here, highlighted by reds during passionate dialogue and whites when Romeo and Juliet kiss, just to provide two examples. If there is a miss on the lighting, it’s when Romeo and Juliet spend the night together, in Act 2, the consummation scene following the tragic climax just before intermission. As the pair lay down, I feel a dimming to black would have been more effective than a hard cut. It’s a soft moment, and it deserves a soft transition. Otherwise, though, the lighting is spot on, especially when the lovers kiss initially, it’s almost as if there’s a spark that lights up the entire room. On the sound side, there are two pieces to call out regarding Robertson Witmer’s work here. The first is the underlying sound, the birds at dawn, who play a key role, especially in Act 2, the sound of church bells, or the best piece, the sound of heavy breaths accompanying Juliet’s consideration of her sleeping potion. It’s a very well done piece of the design, as is the choice of music that plays in between scenes. In Act 1, which we’ll call the happy half of the play, it feels like a carnival atmosphere, with peppy pop music accompanying the actors moving set pieces around, each moving their bodies along with and to the music. When the mood turns more sober and somber in Act 2, gone is the upbeat soundtrack, replaced instead with something more melancholy and tragic. And when I talk about modern, but with a flair, the best example of that is with Jocelyne Fowler’s costuming. From the almost formal wear, that the Capulet and Montague adults wear, to the more casual clothing of the younger set, the range that Jocelyne has designed for here is great. From a functionality perspective, there are a few quick changes here that require the actors to switch costumes in a short amount of time. This is something that at times goes unrecognized, but the ability to design costumes that don’t just look good, but are comfortable to wear, and fulfill the need for changes is not always easy. Kudos here to the entire design team.

Part of the reason companies and directors keep putting up shows like Romeo and Juliet comes down to the story, star crossed lovers who are victims of their families’ feud and pay the ultimate price as a result, martyring themselves to help bring those families together. But it’s not just about the choice to do a particular show, it needs to be done in a way that captures the essence of the story, while also transcending the challenges of the language. In short, successful productions need to be engaging enough for Shakespeare veterans and accessible to younger audience members. The Seattle Shakespeare production is both. Being familiar with the story to the extent that I am, I found myself emotionally invested in these characters and on the edge of my seat watching the events unfold more than I have in any other production. Full marks here to director Sheila Daniels. Sheila has staged the Seattle Shakespeare production in such a way that it envelops the audience in the action and moves at a pace that belies its two and a half hour (including intermission) run time. One of my favorite scenes of the entire show is early in Act 2, after Romeo is banished, when, on stage, Romeo and Juliet sit back to back while separated, he speaking with Friar Lawrence and she with her nurse, both about their perspective on the banishment. It’s the best, though only one, example of how beautifully this production is staged.

As good as the creative team is here with staging, and as good of a job with blocking that Sheila has done with this production, it’s the cast in Romeo and Juliet that is the real differentiator here. To a person, their passion and clarity of delivery makes this such an engaging version of this classic story, it really does stand out. Morgan Gwilym Tso and Allegra Batara star as doomed pair of lovers in this production, and what shines here is the believability of their performances. Morgan’s Romeo starts the show lovelorn and sullen, but when he sets his eyes on Allegra’s Juliet, it’s game over for him, his mood changes on a dime and Morgan’s portrayal goes from lovelorn to lovesick, he’s totally smitten and the feeling is most definitely mutual. The pair’s excitement feels genuine, but where they both excel is in those romantic and tender moments that they share. Morgan and Allegra are both completely bought into their characters. Morgan plays Romeo with his emotions on his sleeve, but there’s that underlying generational anger at his rival family, which of course comes out when provoked, while Allegra’s Juliet more wonders why her fate has been decided by this ages old relationship between her family and his.

That lead pair is surrounding by an excellent group of supporting players, none better than Karin Terry. I would say that Karin is a nice surprise, but if an actor is a surprise in each show that I see them in, should I be surprised at this point? I first saw Karin in inD Theatre’s Hay Fever, in which she was part of the group that won our first ensemble award, then earlier this year she wowed in the Showtunes production of Sunset Boulevard. Here she plays the dual roles of Benvolio and Paris, the former a nephew of Lord Montague and the latter selected by Lord and Lady Capulet to marry Juliet. Both traditionally male characters, Karin makes them her own, and in addition chalks up just as much, if not more, stage time as the leads themselves. They’re characters with different personalities, Benvolio more outgoing, loose, and friendly, while Paris is a bit more uptight and formal. Karin is required to switch back and forth between these characters as the show progresses, especially in the first act, and sometimes very quickly, and once including a costume change. This is just a well rounded and excellent performance overall from Karin, and yes, I think I’m beyond being surprised by her efforts.

Karin’s isn’t the only solid performance in this supporting cast. Andrew Lee Creech’s Friar Lawrence is the calming voice in “fair Verona”. He helps Romeo and Juliet in the growth of their young love affair, settles Romeo down after he’s banished, and assists Juliet in reuniting with her love. Andrew’s Friar Lawrence is steady, but he’s also strong, sure in his actions and advice, and at the same time challenging to those around him. He just won’t take it from anyone, but he’s got a wonderful heart. Other highlights in the supporting cast are Lord Capulet, played by Shawn Belyea , Sarah Harlett’s Nurse, S Franco’s Tybalt, and Miguel Castellano’s Mercutio. The latter pair also play Lady and Lord Montague respectively, but it’s as Tybalt and Mercutio, each the “muscle” on the Capulet and Montague sides, where they shine. Shawn’s performance in Act 2 is emotional, passionate, and memorable, while Sarah’s nurse is loyal, true, and played with a ton of humor. Well done, and well done to all of the cast here.

One would think that Romeo and Juliet has run its course, having premiered in 1957 it has to be one of the most performed Shakespeare plays ever. Any other play by any other author would go the way of the dodo, perhaps resurrected only after a long time spent on the shelf. But what keeps Romeo and Juliet going are productions like this one at Seattle Shakespeare. By far one of the most engaging, accessible, and outright enjoyable versions of this classic that I’ve seen, director Sheila Daniels has captured the true essence of this tragic tale, and with a stellar cast and creative design work, Sheila has reinvigorated my love of Shakespeare. If that sounds extreme, I would challenge you to see it yourself, and you may find that you have the same reaction.

Seattle Shakespeare’s production of Romeo and Juliet runs on stage at the Center Theatre at Seattle Center through May 12. For more information, including ticket availability and sales, visit https://www.seattleshakespeare.org/. Note that there are adult themes, including knife and gun violence, therefore the show may not be suitable for younger audiences.

Photo credit: Giao Nguyen