Front Row Reviewers

Jun 20, 2021 | Reviews, Theater Reviews, Utah

At Cedar Hills’ Heritage Park Amphitheater, Creekside Theatre Fest’s Romeo and Juliet Re-frames Legendary Love Through Community Focus

Front Row Reviewers

Front Row Reviewers

By Kathryn Olsen

There are stories so universally familiar that it is unusual to find a fresh take on it, but Creekside Theatre Fest‘s Romeo and Juliet at the Heritage Park Amphitheater in Cedar Hills is one of those rare gems. This production, set in contemporary times and interweaving themes that are relevant to today’s struggles, is one of the most compelling adaptations of the classic by William Shakespeare that I have seen while leaving the story intact. The promotional materials ask the audience to consider what would happen if the play was not, at its core, a love story, while director and adapter M. Chase Grant notes that “We have been interested in examining who suffers when our collective focus as parents, mentors, and leaders is not on those in our charge.”

The play opens on the familiar rivalry between Montague and Capulets as fliers are distributed to the audience and cast in corresponding colors and chaos erupts in the form of harassment and mild violence. Lord Capulet (Wade Johnson) takes time out of his busy political career to consider the possibility of wedding his only daughter Juliet (Bo Chester) to the sycophantic Paris (Zack Elzey). Juliet is asked to consider matters of love at that night’s feast, but finds herself captivated by the lovelorn Romeo (Anton Moss) instead of a less controversial figure. Their love flourishes in spite of the hateful and unyielding machinations between the Montagues and Capulets and the consequences are unforgettable.

Chester is winsome as Juliet, infusing many scenes with an unbridled optimism. This renders her grief at the death of a cousin and her struggle to reconcile anger with devotion both raw and life-altering. The lighting choices emphasize moments of madness, but Chester does not need them because of the strength of her performance.

Moss is an enabling force who plays Romeo with faith in his choices and this is a wonderful counterpoint to his lady love. Moss’ interactions with his friends are in a similar vein as his approach to Juliet, so the escalation to love and loyalty is more organic in this production than is sometimes the case.

Friar Lawrence (Jeff Denison) similarly trusts in public good and makes a natural ally for Romeo. While Denison’s performance calls to mind every person who has ever recommended one weird trick found on the internet, he sets this aside quite easily to see circumstances clearly.

Nurse (Liz Golden) plays both as Juliet’s caretaker and the Prince of Verona. This dual casting puts a great deal of responsibility on the shoulders of one performer and Golden’s portrayals are of two characters with similar inability to stop the course of tragedy.

While the titular story is of two innocent youths, the director’s lens of community suffering brings the usually supporting characters into greater focus. Lord Capulet and Lady Capulet (Mandy Lyons) try to work together for the greater good, so are powerfully united when horror ensues as a result of their decisions. These actors present a united front with the bigger picture in mind, whether schmoozing with the audience or appeasing Paris, but have extremely effective responses to the results of their blindness and are united in their regret. Lord Montague (Zachary Ballard) has a more background part, but Ballard seems to be a familiar version of many parents who struggle to reconcile their suffering with the expected results of their decisions.

Of course, no production of Romeo and Juliet would be complete without Romeo’s band of brothers. Benvolio (Jordan Briggs) is one of the best features of the first act with his “party on, dude” wardrobe and easy camaraderie. McKell Peterson plays Mercutio with open ribaldry and enthusiasm and the impact of their fate is enhanced by this indispensable tone. This ensemble within the cast can be cavorting in the streets or searching in the audience for Romeo (who is making himself comfortable on any available picnic blanket), while each has a specific duty to fulfill throughout the plot.

This production is not your typical Shakespeare. Litter is part of the brawling of the rival households and audience members choose their sides with color-coded papers. Romeo gives the Nurse something for her service with Venmo and Paris takes selfies. Perhaps the most notable change is that some members of the ensemble are seen documenting civil unrest on their smartphones and the closing narrative is framed as a news report. The ensemble shines in the background by giving verisimilitude to this version of Verona so that the realism is relatable.

While the director has helmed a wonderful and engaging cast, the technical aspects of the show are equally outstanding, enabled by Tech Crew Sariah Cisneros and Dallin Jeppson and Stage Manager Harmony Hadfield. Music is overseen by Zach Hansen and Maren Hansen, fusing instrumental works with such memorable tracks as Edith Piaf‘s “La Vie en Rose.” Sound Designer Jake Allen allows the cast to carry their interactions on stage as well on the grass of the amphitheater. The set as designed by Brian Hadfield is ingenuously minimalist, with a few pieces reconfigured on a regular basis without much effort. The costume design by Jess Wallace often follows the color-coding that is introduced early on and Romeo’s sudden use of a blue shirt in his red-based wardrobe signifies a major shift in his loyalties. The fight choreography by Ben Henderson is efficient, lethal, and escalates quickly in a way that makes the results jarring. Chris Olson contributes the most noticeable aspect as moments of madness and desperation are reflected in the brightness or hue of the lights and the lighting design leaves some things to the imagination.

As with all renderings of this play, it is not appropriate for young audiences, but the focus on the damage done by society is something that can be discussed with older children and teenagers. The program includes resources for mental health.

This is a story many audiences may be familiar with, but brought to life in thought-provoking ways. Pack up your lawn chairs and Kleenex for this tale of love and woe before it closes.

Romeo and Juliet Written by William Shakespeare, adapted by M. Chase Grant.
Heritage Park Amphitheater, 4425 W Cedar Hills Dr, Cedar Hills, UT 84062
Jun 16-Jul 1, 2021, 7:30 PM
Tickets: $12-18
Contact: creeksidetheatrefest@gmail.com, 801-899-5135
Creekside Theatre Fest Facebook Page

Front Row Reviewers

Front Row Reviewers

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