On 43rd Street, the Broadway musical comedy “And Juliet” has been running for two years.
And on Thursday night, the Circle opened its companion piece – “Romeo’s End” – at the Square Theater seven blocks away.
Well, director Sam Gould’s party-hardy production of William Shakespeare’s tragedy is actually called “Romeo + Juliet,” which swipes the youthful “+” from Baz Luhrmann’s 1996 film starring Leonardo DiCaprio and Claire Danes. Is.
Ampersand, Schampersand.
But, without a doubt, Kit Connor’s Romeo is the only reason to bring you to the theater. What an impressive, heart-stopping Broadway debut for the young British star of Netflix’s “Heartstopper.”
Any meaningful staging of this play forces the audience, for some time, to buy into the ill-fated romance of the star-crossed lovers.
That they are naïve teenagers, their hormonal friends are killing each other because of an ancient family feud and the story is based on a whirlwind five days always makes the endeavor an uphill battle.
Connor’s gentle touch, generosity of spirit and easy facility with classical language is why we almost rally around this pair.
Her YA, good listener personality is a stark contrast to the violent world in which her character lives. And he is one of the only performers on stage who takes full advantage of the relatively intimate, in-the-round space, connecting deeply with other performers and close theatergoers.
During one scene, Connor politely – frantically – begs an audience member to borrow his chair. This move would be a capital-G Gimmick if he weren’t so endearing and effortless while doing it.
However, on the balcony, her co-star Rachel Ziegler asks the question: Why are you Juliet?
On the surface, his casting makes sense. After all, she played Maria, Midtown West’s own Juliet, in Steven Spielberg’s “West Side Story.” The actress is superb in a film in which music – not iambic pentameter – is the food of love.
However, Shakespeare’s words don’t come as naturally as Ziegler’s lyrics, and sparks don’t fly with Connor’s Romeo.
She tries to give her Ms. Capulet some edge, just like she did with Lucy Gray Baird in “The Hunger Games: The Ballad of Songbirds and Snakes.” Jules is naive and irritable. And, from what she knows, Ziegler sang two Jack Antonoff tunes. But it all seems a lie.
Indeed, despite the strong start, the entire second half of the show is as hollow as a drum.
Conceptually, “Romeo + Juliet” is one of Gould’s more delicious takes on the Bard. His last film, “Macbeth,” starring Daniel Craig, was abysmal. I often hesitate to speak its name – not because of age-old superstition, but because of PTSD.
Gould’s “R+J” is even better than director Jamie Lloyd’s recent Dreyer-fest I saw in London, starring “Spider-Man”‘s Tom Holland.
This go-round, Gold’s big idea is, quite literally, Season 3 of “Euphoria.” Created by a firm called Dots, bathed in designer Isabella Bird’s blue and pink light and dance music set to Hello Kitty, you feel as if you’re a fly on the wall at a house party in the suburbs, while no one Parents are away.
Juliet’s bedroom descends from the ceiling over a dreamy oasis of colorful flowers. And, at other points, Gold cleverly uses the light grid above our heads to create a sense of turmoil and restlessness.
This is all well and good. I wish the disturbing lines of the play got as much TLC as the atmosphere.
Apart from the solid Tahin Modak as Romeo’s cousin Benvolio, no other actor inhabits his character effortlessly. The performances are loud rather than live-in. And there’s some strange doubling of roles, none more sudden than Tommy Dorfman as Tybalt. And Nurses – A combo I hope to never see again.
And Gabby Beans – a supernova in “The Skin of Our Teeth”, but misused here – plays Mercutio, the Friar, and is handed the prologue.
The effect can be like going to a distant high school where the English teacher coaches the wrestling team, directs musicals and moonlights as a Drivers’ Ed instructor.
Once the audience has become accustomed to the playful, serene mood that extends to the chic lobby, they wait for the tragedy to unfold. On the other hand, “Romeo + Juliet” is disappointing.
The play ends during the dark final moments in the basement, or wherever they are. The best parts are the spots in the rearview; Sadness, less powerful than the pounding tunes of two hours earlier.
Then, at the last second, we are told as usual, “Never was a sadder tale than that of Juliet and her Romeo.”
And, as the lights fade on the Circle in the Square, we’re not so sure about it.
(Tags to translate)Theatre
