Shakespeare gets a Gen Z makeover in the newest revival of his most beloved tragedy. Romeo + Juliet is back on Broadway in a production helmed by Tony winner Sam Gold and starring Rachel Zegler and Kit Connor.
The youth are f**ked. Left to their own devices in their parents’ world of violent ends, an impulsive pair of star-crossed lovers hurtle towards their inescapable fate. The intoxicating high of passion quickly descends into a brutal chaos that can only end one way. In this version of the classic, Shakespeare’s timeless tragedy now belongs to a new generation on the edge.
This production of Romeo + Juliet is even more special, because though it is not a musical, it features music by Grammy Award winner Jack Antonoff and movement direction and choreography by Tony Award winner Sonya Tayeh. The song "Man of the House," performed by Zegler, has been released as a single.
Romeo and Juliet, one of William Shakespeare's most famous plays, is a timeless tragedy that explores the intense and destructive power of love. Set in Verona, the story revolves around two young lovers, Romeo Montague and Juliet Capulet, whose families are locked in a bitter feud. Despite the hostility between their houses, Romeo and Juliet fall deeply in love and secretly marry. Their romance is marked by passion, impulsiveness, and defiance of social norms, which ultimately leads to devastating consequences.
The play delves into themes of fate, choice, and the destructiveness of hatred. The concept of "star-crossed lovers" underscores the inevitability of Romeo and Juliet’s doomed love, as their efforts to escape their families’ animosity lead to a series of misunderstandings and tragic events. The play has enduring relevance as a commentary on youthful passion, family dynamics, and the societal constraints that shape human relationships. Its blend of romance, drama, and universal themes ensures its place as one of the most studied and performed works in literary history.
Romeo and Juliet has not been seen on Broadway since a 2013 revival starring Orlando Bloom and Condola Rashad. Other duos to play the star-crossed lovers onstage include Lauren Ambrose and Oscar Isaac, Jessie Buckley and Josh O’Connor, and Tom Holland and Francesca Amewudah-Rivers.
Gold tries his damnedest to bring something new to William Shakespeare’s 1597 play, which has been performed in just about every space imaginable for the last four centuries, including three dozen times on Broadway. He occasionally achieves something gorgeous and intimate, thanks in large part to the white-hot chemistry of his two leads. But for slightly older audiences, now nursing heartburn more often than heartbreak, you’ll likely just feel exhausted.
Apart from the Zoomer window dressing, Gold engages in thoughtful and amusing double casting. Sola Fadiran plays both Capulet and Lady Capulet, neatly distinguishing between the husband and wife without overdoing gender stereotypes. Capulet’s angry rant at the recalcitrant Juliet is especially terrifying. The absolutely electric Tommy Dorfman is a study in opposites as Juliet’s daffy, chatty Nurse and ice-cold killer Tybalt. Gían Pérez takes on various clown roles, such as the douchey Paris and feckless Peter. The always-stunning Gabby Beans plays both Mercutio and Friar Lawrence with tremendous panache and humor. Both characters think they know what’s best for Romeo yet end up hastening his self-destruction. Beans’s Mercutio is an acid-tongued stoner perpetually in shades, whereas the friar is a gentle, optimistic soul. She juggles a third character speaking Chorus lines and delivering exasperated edicts from the Duke of Verona. The first act ends as a bloody brawl on a bed of flowers an alarming juxtaposition of brutality and romance. Choreographer Sonya Tayeh gives the movement her signature mix of muscularity and abandon. In the final scene (a bit rushed perhaps so Gold could keep the action more or less at two hours) Romeo and Juliet die splayed over each other. Their cruciform positioning mirrors the giant LED crucifix against the wall behind the DJ. A pretty tableau, but nothing terribly deep. You could say the same of other directorial flourishes, but they’re easily overlooked, since the language is well-delivered and the ensemble appealing. It’s the least boring or cringe Shakespeare I’ve seen in a long time.
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