By George Hinterslink
New World Shakespeare Company in Salt Lake City, Utah, celebrates its 10-year anniversary with yet another refreshing take on a classic tale: an age-flipped Romeo and Juliet. This well-known tragedy was the company’s first production in 2012, in which Romeo was played by a woman in a queer reworking of the text. This time, Romeo and Juliet are the aged parents of quarreling children-term care facility called The Verona, where they fall in love. Here, Friar Lawrence is a doctor, the apothecary is a drug dealer, and love is “not just for 14-year-olds,” as is stated in Blayne Wiley’s director’s note.
Our two leads, Cami Rozanas as Juliet and Jon Turner as Romeo, are endlessly lovely in their respective roles. Bumping up the ages of these two star-crossed lovers automatically generates interest, but the performances themselves are well worth a viewing. Juliet is a difficult role to play, as ingenues are generally considered flat or lacking substance, so to infuse some heart and humanity into her is not a simple task. Rozanas weaves robust layers into the character, giving her anger, woe, exuberant joy, lust, wisdom, determination, and sincerity. I felt for her fears and found happiness in her triumphs. I was struck by how invested I was in this character for the first time. As Romeo, Turnerbrought sweet tenderness juxtaposed with electrifying fury to the role. Turner is a deft comedic player, balancing high and low notes with a twinkle in his eye that suggested he was up for one last adventure: the adventure of falling in love. In a scene of tender sensuality, the two wake up from a night together, and, without Shakespeare’s words to fill the moment, the actors dwell in one another’s spheres, warming the stage with a feeling of hope made all the more tender by the audience’s knowledge that it is about to be dashed.
Wiley’s vision is clear in this production, and he seems to have given specific direction to the actors to create an honest story. There is not an absence of mirth, but rather a purity and depth of feeling. Moments of levity are brought by the friendship and chemistry between Romeo, Mercutio (Jeffrey Owen), and Benvolio (Min Pike), who play together so easily it seems clear that their camaraderie extends beyond the stage. Pike plays her role with such sincerity and care for Turner’s Romeo, and Owen’s constant teasing and jocular energy are like that of a little brother.
Though some of the actors seem on the greener side, there is nothing but raw potential among the cast. One standout is Em Spikes as Doctor Laurence, the administrative physician in The Verona. Spikesis a powerhouse actor, bringing an impact and ferocity that balances deftly with her gentleness and grace in her scenes and results in a natural quality on stage that is not easy to attain. She elevates Laurence’s importance in the story, becoming the ultimate voice of reason that the characters turned to time and again.
The production creatively adapts different elements of the original play, such as using knitting needles as weapons (with fight choreography by Michael Kelly) and transforming a facility mix-and-mingle into a dream dance during which Romeo and Juliet can connect (choreography by Aimes Pike). Everything is purposeful and poignant, and the telling of the timeless tale gets new life in the humble little space: The Box. So head to Salt Lake City, Utah to see New World Shakespeare Company’s aged take on a time-tested masterpiece.
New World Shakespeare Company Presents Romeo and Juliet by William Shakespeare
The Box 124 S 400 W Salt Lake City UT 84101
Dates: July 7–9 and 14–16 at 7:30 PM, with 3:00 PM matinees July 10 and 17
Tickets: $20
New World Shakespeare Website
Online Playbill
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