A Contemporary Take

Romeo and Juliet – Chicago Shakespeare Theatre

In a cleverly orchestrated, lightning-paced production of the Bard’s most popular love story, Chicago Shakespeare Theatre not only sometimes involves the audience in its production but it  has updated the play, setting it in the near future during the upcoming hot Summer of 2020. The look and sound of this production is a more contemporary take on the familiar tragedy about two feuding families. In this version, the death of the two star-crossed lovers, whose untimely demise ultimately reconciles their kin, looks more like “West Side Story” than an Elizabethan drama, albeit without the gorgeous songs and jazzy, finger-snapping dances.

Staged on a colorful, yet sparsely appointed set, designed by Scott Davis, dramatically lit by Aaron Spivey and with a powerful sound design by Mikhail Fiksel, this is a production that will definitely speak to younger audiences. For diehard purists, these scenic elements, along with Mieka van der Ploeg’s modern-day costumes and Richard Jarvie’s twenty-first century hair and makeup designs, may sometimes feel a little jarring. Once theatergoers have bought into Ms. Gaines’ vision, however, the story becomes all too familiar.

Barbara Gaines has updated Shakespeare’s drama to appear like a series of realistic moments and tragic events ripped from today’s news. The gang wars, the modern rhythms, the poignancy and posturing by the characters, and even the poetic dialogue, all feel au courant. One of the most moving moments in this production occurs in the final denouement, when we’re left with a visual image of the play’s unfortunate, untimely deaths. Scott Davis has created a makeshift memorial, like those we often see springing up following a shooting or a car accident, that’s set along a cyclone fence somewhere in Verona. It’s a moving reminder of all the violence and calamity we’ve just witnessed.  

Ms. Gaines’ multiethnic company of actors is excellent and very appealing. She’s made some bold choices in her casting that pays off. Although many of her leading players are making their auspicious Chicago Shakespeare Theatre debut, Edgar Miguel Sanchez, who plays Romeo, was seen in this company’s recent production of “Macbeth.” He’s cocky, boyishly handsomely, disarmingly charismatic and totally honest and believable as the young lover. Sanchez is beautifully paired with lovely Brittany Bellizeare, making her Chicago debut, as a very convincing, contemporary-sounding, present and profoundly realized Juliet. Together, these two young actors bring much humor to their roles, as well as the requisite hormonal desire and longing that fuel this ill-fated couple. One of the strongest scenes in this production involves beautiful and eloquent Lia D. Mortensen and handsome, powerful James Newcomb as the affluent, continually sloshed Mr. and Mrs. Capulet, trying to force their daughter to marry Paris. He’s nicely played by CST first-timer, Julian Parker, giving this character a far more genteel and likable demeanor than seen in most productions.

Darlene Hope makes her strong CST debut as the Friar. Casting a woman in this role was an inspired decision and allows this character to tap into her maternal instincts while healing her flock. Possessed with a gorgeous singing voice, which she occasionally employs throughout this production, Ms. Hope is a powerfully magnetic presence, both in trying to be a supportive friend to the luckless lovers while providing spiritual guidance to a war-torn Verona. Betsy Aidem, in her first performance at the Navy Pier Theatre, is appropriately bawdy and terribly funny as the Nurse. She’s Juliet’s one true friend and confident, but she has her own agenda, as well. Allowed to party hardy with the Capulet family, Ms. Aidem reveals herself to be a hot to trot mama who enjoys drink, dirty dancing and a dalliance, now and then. 

In this production, Amir Abdullah is a real force of nature as brusque, understandably frustrated Chief of Police Hakeem. He’s Ms. Gaines’ contemporary version of Prince Escalus, the iron-fisted ruler of Verona, whose mission is in trying to eradicate the violence between these two warring families. The gang members from the two clans include good-looking Sam Peterson, as Juliet’s fiercely hotheaded cousin, Tybalt; Nate Burger, providing an often flamboyant presence as Romeo’s ebullient, rebel-rousing buddy, Mercutio; and Cage Sebastian Pierre, who serves as fight captain and portrays a pretentious, somewhat pompous peacekeeping Benvolio. Great moments of hilarity are provided by Danielle Davis, who plays an illiterate but self-confident Petra, and also serves as the production’s dance captain. Although principally playing a gang member, talented Jaq Seifert is absolutely unrecognizable in their two very different cameo roles, portraying Capulet’s feisty Mother and the grungy, streetwise Apothecary.   

For a Shakespearean performance that feels as up-to-date as real life, and as powerful as today’s headlines, this multicultural  production is a revelation. Theatergoers who think that Shakespearean dramas are stuffy and too erudite for young people to appreciate will be pleasantly surprised with this show’s accessibility. Barbara Gaines, the gifted and visionary Artistic Director of Chicago Shakespeare Theatre, has imbued one the Bard’s most popular, tragic love stories with her magic touch, creating a brand new, contemporary production that’s certain to generate a new audience of fans for Mr. Shakespeare’s plays.

Recommended

Reviewed by Colin Douglas

Presented October 31-December 22 by Chicago Shakespeare Theatre in their Courtyard Theatre on Navy Pier, Chicago.

Tickets are available in person at the box office, by calling 312-595-5600 or by going to www.chicagoshakes.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.