Walking into Romeo + Juliet at Circle in the Square in New York City, I thought I knew what I was in for. Having seen multiple productions of Shakespeare plays, I didn’t think that Broadway’s new version would be anything beyond some fresh acting and staging choices. Much to my surprise, Sam Gold’s production of Romeo + Juliet had me laughing, crying, and most of all, rooting for the success of the star-crossed lovers despite knowing their fate.
The immersive experience began as soon as I walked through the door, with the theatre decorated to the likes of an arcade crossed with a nightclub, complete with a claw machine and customized mixed drinks. The show itself is performed in the round, and the theatre was decorated with items I would never associate with the play: teddy bears, Hello Kitty backpacks, and more.
The music of the play is written and produced by Jack Antonoff, and is played by one DJ throughout the production, uncommon for most Broadway shows which usually use an orchestra. Many of the performers sing original music during the show, spicing up an otherwise unchanged script. Rachel Zegler (Juliet) sings an original song written for the show, titled “Man of The House,” which is also available on streaming. Zegler’s strong, clear soprano adds emotion to the story that could not be conveyed with dialogue alone.
Kit Connor (Romeo) and Zegler led the show with explosive chemistry. Gold clearly tries to cater to a younger audience, so much so that the tagline of the production is “The youth are f**ked.” Connor and Zegler emulate the tantalizing undertones of Romeo + Juliet, creating a performance nothing short of electric.
Connor and Zegler were backed by a strong supporting cast. The strongest of the ensemble was Gabby Beans (Mercutio/The Friar). Beans’ outstanding physical comedy and enormous stage presence made her a standout among the rest. Beans added an unmatched level of comedy to the production, setting the tone for the maximalist production quality.
Unique casting also provided a different depiction of characters, most notably the casting of Capulet and Lady Capulet, which were played by the same actor. While Sola Fadiran provided a new take to the characters, I found that combining the two got rid of the important abuse plotline that is present in the play. Other casting combinations such as Mercutio/The Friar (Beans), The Nurse/Tybalt (Tommy Dorfman), and Samson/Paris/Peter (Gían Pêrez) made more sense for the story.
Sam Gold’s Romeo + Juliet was the full package. Funny yet deeply tragic and backed by a star-studded cast, this production is a powerful new representation of a story we’ve all heard before.
Romeo + Juliet concludes its run on February 16.
