‘Romeo + Juliet’ Review

*May contain spoilers, read with discretion* 

When sitting down for any production of a beloved Shakespearean play, audiences can expect to be transported directly into the world of the characters. It can feel as if you are living in that time as well.

However, when sitting in the Circle in the Square Theater in Manhattan, viewers were not met with a typical depiction of fair Verona, and instead were met with a shopping cart of stuffed animals and actors chatting amongst the stage. When the lights dimmed and the show revealed itself, Sam Goldman’s Romeo + Juliet certainly made its mark as an outstanding production of a timeless tale. 

As an adaptation of Shakespeare’s story of star-crossed lovers, Romeo + Juliet certainly did justice to its iconic source material without the grandiose elements expected to see within the theater. By having a minimalistic set and costume designs, audiences are compelled to pay attention to the story rather than what’s happening around them, and it certainly worked towards the show’s advantage. 

Juliet’s iconic balcony, rather than being an actual set piece, was lowered from the ceiling of the stage, letting audiences have an incredible view of the scene no matter where they sat within the circular theater. Along with that, the stage’s folding mechanics revealed a colorful garden where characters could lounge about and engage in battle, with the latter being more present during the show.

The lighting was yet another wonderful detail. With the back wall of the theater occasionally glowing to either act as a spotlight on the character’s, a strobe for the Capulet party, or even as a cross to signify a church for the intimate matrimony of Juliet and Romeo, it added a lot to the show. 

As I was sucked into this version of Verona, the world I was shown was not an era of the Renaissance as it was originally written, but an unapologetically “Gen Z” and flamboyant interpretation of the land that was successful in both interpreting a classic tale to the youth as well as captivating them in the story. 

With the topic of the youth in mind, it is important to note that this cast had incredible young talent, with the starring actors Kit Connor and Rachel Zegler both making their broadway debuts. 

Connor’s performance as Romeo was delightful, and perfectly encapsulates the romantic, impulsive, and horny personality of the character. His interactions with both Zegler and the rest of the cast made for a likable version of the usually insufferable Romeo, and his chemistry with Zegler was electric, making their iconic balcony kiss scene incredibly satisfying (not to mention he was doing a pull-up while doing so). 

Zegler’s performance as Juliet was awe inspiring, and I don’t believe a better actress could have taken on the role. Zegler gave us a version of Juliet that was confident yet innocent, and perfectly romantic. As Juliet descends into her madness after hearing of Romeo’s terrible actions against her family, Zegler portrays a conflicted and mournful version of the character, ultimately showing her impressive range as an actress. She was also given the chance to show off her singing talent at multiple points throughout the show, which was a delightful treat for those who enjoy her musical performances like in “West Side Story,” including myself. 

Other than the starring actors, the supporting cast of characters was also wonderful, with Gabby Beans, who portrayed Mercutio, the Friar, and the Prince, giving a standout performance in all of her roles. Gían Pérez, who portrayed Samson, Paris, and Peter, was also a joy to watch perform as he was responsible for many of the comedic moments in the show, which were timed and executed wonderfully. 

Lord and Lady Capulet, both played by Sola Fadiran, were also intricate characters to see come to life through Fadrian’s performance. By being both comfortingly matronly and a stern, fear-inducing father figure, Fadrian was quite possibly the most dynamic performer in the show, and not just for having to play both parental figures at once. 

And of course, the villain, Tybalt, was yet another portrayal due for praise. Played by Tommy Dorfman, who also played The Nurse, Tybalt was given a queer personality to mix with his protective and macho nature that was previously introduced within Shakespeare’s original story. The Nurse, on the other hand, was a charming and nurturing character whom any person would be blessed to have as their own nursemaid. And with her portrayal also getting its own sexual and seductive spin, it certainly made for an entertaining show. 

Overall, Goldman’s Romeo + Juliet is an incredible performance that is classified as a must see in my book. With its dynamic cast and design choices, the production has certainly made its staple as a stellar adaptation, and one can only hope that this show runs long enough for all to see. 

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