If music be the food of love, play on.
Oops. Wrong
play. But the opening line from
Shakespeare’s Twelfth Night would well serve the production of Romeo and Juliet
now in previews at the Richard Rodgers Theater.
Under David Leveaux’s somewhat muddy direction, with an odd mix
of contemporary and classical elements, this Romeo and Juliet is suffused with
music—a veritable soundtrack, much of it percussive or electronic (two musicians
are credited in the program—cellist Tahirah Whittington and percussionist David
Van Tieghem). At times, the music does
complement the onstage proceedings, especially in the scene at the Capulets’
party where the title characters meet and fall in love; at other times it is
merely intrusive.
Actually, the music should emanate from the performance of
Shakespeare’s words, which is where the actors come in.
Romeo is played by Orlando Bloom, who is perhaps best known
for portraying the elf prince Legolas in the Lord of the Rings films. Although he hasn’t done a lot of stage work,
it is clear he has been well trained in classical performance in his native
England. Even from the balcony, where I
sat, I had no trouble at all hearing or understanding him.
The only other actor whose diction is a match for the
language of the play is Chuck Cooper as Lord Capulet. Cooper, a terrific actor so brilliant in last
year’s revival of August Wilson’s The Piano Lesson, has my early nod for a Tony
nomination. The play boasts fine
performances, as well, by Brent Carver as Friar Laurence and Jayne Houdyshell
as Nurse.
Playing Juliet is Condola Rashad, a wonderfully naturalistic
actress. I have found her to be pitch
perfect in everything I’ve seen her in:
from Lynn Nottage’s Ruined, to Lydia R. Diamond’s Stick Fly, to Horton
Foote’s The Trip to Bountiful. Here, she
has the character of Juliet down pat, but, unfortunately, she hasn’t quite mastered
the particular vocal demands of Shakespearean English.
Some early buzz about the production has suggested a lack of
romantic or sexual spark between the star-crossed actors. I would argue, however, that it is their
acting styles that are distancing them. Bloom’s performance—even with its expressive physicality (he comes
riding in on a motorcycle--really?!!)—is in the classical mode, while Rashad’s is driven by her
emotional understanding of the character.
I hasten to add that both may grow in their roles over time.
Getting back to the production itself, Mr. Leveaux, the
director, has opted for a quasi-West Side Story approach, with gang-like
behavior across racial lines (the Montagues are white; the Capulets are
black.) Yet this modern take comes and
goes, and we seem to shuffle back and forth in time, depending on the scene and
the performances.
All in all, I would say that despite its flaws, this Romeo and Juliet is worth the
visit for some very strong performances by the supporting cast, and for the opportunity
to see a full-scale Broadway production (the last time was over 25 years ago)
of one of Shakespeare’s most beloved plays. Take the teenagers!
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