ROMEO AND JULIET · THEATRE

ROMEO AND JULIET @ THE OLD GLOBE

Image result for romeo and juliet
Still from Franco Zeffirelli’s film adaptation of Romeo and Juliet, 1968.

I know, I know. I have no business showing my face around here, especially because my post on Coriolanus is twelve days late. I actually have a legitimate reason for being a terrible Shakespearean: I’ve been recovering from a mild concussion. I wasn’t even allowed to read during my recovery, which means that the last act of Coriolanus is still waiting for me. I feel a lot better now, which means I was able to see the production of Romeo and Juliet that I had already bought tickets for.

This isn’t a personal blog, so I won’t keep harping on about myself, but it was pretty terrifying going back to Shakespeare after my concussion. There was a period of time where I didn’t feel like myself, and I kept guiltily looking at Coriolanus as it began to gather dust on my bedside table. I was a bit scared that if I started to read, I wouldn’t understand anything. That my favorite thing to do would be a struggle to get back into. But as I listened to the familiar words of Romeo and Juliet, I realized how silly I had been. But speaking of Romeo and Juliet

If you’ve been reading this blog for any period of time, you know that I am not a fan of modern productions. I don’t like modern costumes, and I don’t like modern music. But I try to be open, so I bought myself tickets to this production knowing it would end with me looking at a jeans-clad Romeo.

This production, unfortunately, combined modern clothing with modern music – and, frankly, that was too much for a purist like me. I can stand it when productions choose one or the other, but both is going a bit overboard. That is just a matter of personal taste, though, so let’s talk about the characters instead.

Romeo (Jose Martinez) was played with the perfect amount of boyish charm. He was overemotional and overdramatic, but I think Romeo should be played that way. I did take issue with the delivery of his ‘O, she doth teach the torches to burn bright!’ Actors can get away with delivering all of Romeo’s lines with the same air of boyishness, but I think it’s very important for his delivery to be a combination of firm and shaken when he firsts see Juliet. We need to be convinced that this is love – this is more than what he felt for Rosaline. This is the kind of love that moves mountains, and if Romeo doesn’t convince us of that when he first speaks about Juliet, then the rest of the play suffers for it.

The way Juliet (Larica Schnell) was played was not for me, sadly. As you know, I am very passionate about the women in Shakespeare. I see them as being incredibly strong and admirable. Juliet is no exception. But if Romeo is going to be played as overdramatic, then Juliet should be played with a softer edge. There was a lot of yelling from Juliet in this play. Yelling does not equal strength – there can be strength in a soft voice as well. Give me a sweet Juliet, not one brimming with attitude. She can still be strong. There are so many ways to write and play strong women, and yet I find that they are always played the same way. It was a wasted opportunity to do something unique with Juliet’s character, really.

Speaking of wasted opportunities, let’s talk about Mercutio (Eric Weiman) for a moment, shall we? Weiman played Mercutio well, and my criticism has nothing to do with his skills as an actor. This is a criticism of how Mercutio is always played. In every film, in every stage production, Mercutio is played for laughs. He is painted as vulgar and loud – the clown to Benvolio’s straight man. But does it need to be that way? I am so curious to see what would happen if Mercutio were played as the straight man for once. Hell, I wouldn’t mind having no clown at all. That dynamic doesn’t matter in this particular trio. Romeo is the overdramatic one, isn’t he? Let his friends handle him with exasperation. There is no need for dramatics from more than one character in this play. Mercutio is a joker, but just as strength doesn’t equal yelling, joking doesn’t equal clowning around. Again, an opportunity was missed for a different kind of Mercutio to be explored.

The balcony scene is incredibly iconic, but there wasn’t one. This was a very prop-free play, but I believe that they had the tools to put together a makeshift balcony if they had wanted to. I know that the balcony isn’t mentioned in the actual play, but I think it’s a wonderful way to stage the scene simply because it adds a lot of tension. You really feel the distance in between these two characters who so badly want to be in each other’s arms. When they are standing a few feet away from one another, that tension is lost.

The Nurse (Samantha Sutliff) was my absolute favorite in this production. She was hilarious, and dealt with Juliet in a loving, protective manner. The Nurse is usually played for laughs, but really letting us feel her affection toward Juliet was an excellent touch.

Overall, I would say that the play was just okay. I know that makes me come off as a snob, but I can’t help having very strong feelings about Shakespeare. I love Romeo and Juliet, but not everybody does. The reason is because we’ve fallen into this trap where the characters are the same every time. There is nothing fresh about this play anymore, and that’s terrible. Romeo and Juliet is still ours to re-mold, and if put on correctly, it can pull someone into the world of Shakespeare like nothing (other than Measure for Measure) else.

My post on Coriolanus is coming up soon, I promise! I am so behind, I know, but I will be finishing these plays no matter what. If it takes us into January of 2018, then so be it! I definitely wasn’t planning for a concussion, but that won’t stop me from finishing this resolution.