By Susannah Whitman
The venue Kilby Court isn’t easy to find. It’s not clearly marked, and you’ve got to walk down an alley to get to it. Often used as a concert venue, the small space feels more like a friend’s backyard than a theatre. There’s a small outdoor stage, a fire pit, and a few benches. Will call is at a small wooden structure next to a gate. Your ticket is a string of plastic mardis gras beads. When the “house opens,” you are welcomed into a small warehouse space, filled with music, party favors, and flashing lights.
And then the actors join the crowd, and Riot Act’s immersive and engaging production of Houses begins.
Writer/director Whit Hertford, together with his cast and crew, has created a stunning retelling of Shakespeare’s classic Romeo and Juliet. Riot Act (founded in 2015 in London) focuses on “Ensemble based/avant garde theatre” and “resuscitation of classic texts through incision and excavation” and “innovative new writing.” Don’t expect to sit quietly and watch actors tell a story at Houses—you’re part of the story at Houses.
The show begins during a riotous party. Romeo gets in a fight with her girlfriend Rosalind, while the others dance around them. Mercutio riffs on the microphone about dreams. Silly string flies through the air, and dance music blares through the speakers. And in the midst of all of this chaos, Romeo spots Juliet. The two girls connect, despite Juliet’s engagement and despite Romeo’s recent breakup.
You likely know the story of Romeo and Juliet—how their families would not approve of their romance, and how they have to hide their love. Riot Act’s LGBTQ re-telling allows us to examine what modern-day prejudice may be fueling similar stories of heartbreak in our own day and age. The language of the play is mostly modern, with an occasional homage or quote from the bard.
As the actors move through the familiar story, the audience follows them—literally. When Romeo and Juliet meet outside of the warehouse, you walk out of the warehouse and watch their conversation. When Tybalt and Mercutio get into a fight in the street, you are a spectator in the street. The show lasts for a little over two hours, with no intermission, and the audience is rarely in the same place for longer than 15 minutes at a time. (Note: If you need accommodation or would find it difficult to stand for the entire production, seats can be made available. Talk to the ticket office before the show.)
As night falls, the action is illuminated by everything from string lights to flash lights to head lights. The heartbreaking conclusion of the story takes place in the street outside of the venue. The night I went, a light breeze moved through the trees surrounding us, lending a beauty to the production that could not be recreated in a closed theatre.
The gamine and impossibly talented McKenzie Steele-Foster plays the impulsive Romeo. Her honesty and naturalism “onstage” make us feel not like we are watching an actress, but simply watching a person. Haeleigh Royall (also the managing director of Riot Act) plays the lovely Juliet. She brought a sweetness and a sense of excitement to the role that eventually fell away to reveal a woman of enormous depth of feeling, who chooses courage for as long as she can.
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Ali Kinkade plays the beloved role of Mercutio to perfection. Dressed in tights, shorts, and a loose T-shirt with a large “I love orgasms” button, she is wild and funny and engaging. But one gets the sense, in certain moments, that the colorful face paint and raucous laughter is covering up a greater sense of pain. There is a depth to Kinkade’s performance that brings greater life to the character of Mercutio.
In such an ensemble work, it’s difficult to highlight “stand out performances”—each actor had wonderfully strong moments. Olivia Custodio’s dry humor as the Nurse added a sense of fun to her interactions with Juliet, and Custodio’s strength and vulnerability shone in her moments of heartbreak. Andy Rinclishbach brought a tender innocence to the role of Benvolio that was heartbreaking in the best way. Lane Richins, Adriana Lemke, Ashley Marian Ramos, Daniel McLeod, and PJ Volk each did outstanding work, and they each brought such life and imagination to these characters that have been played for hundreds of years.
One aspect of the production that could have been improved was the fight choreography. There were moments when it simply looked too “choreographed.” There were parts of the “set” that provided opportunities to obscure some of the fighting, which can be very effective, and the actors simply could have used more practice. That said, the actors brought powerful emotion to the various fight scenes that kept the audience engaged, and any weakness in the fight choreography was made up for in the emotions of the actors.
There is a time and a place for “traditional theatre.” To sit in a theatre and watch a big, shiny musical is an uplifting experience. But that’s not all that theatre is limited to. Theatre can tell important stories, stories that hurt, stories that remind us to be alive, stories that change us. Riot Act is a welcome experience in a community that often places emphasis on musicals and children’s shows. Those kinds of productions are valuable, and shouldn’t be decreased. But I’m grateful for the imaginative and unique experience that theatre companies like Riot Act provide. It adds diversity to the theatre experience in Utah. I left the production of Houses feeling deeply moved, both by the story, and by the mode of storytelling. I look forward to future productions.
Riot Act presents Houses by Whit Hertford and William Shakespeare
Kilby Court, 741 South Kilby Court, (near 700 South and 300 West), Salt Lake City
(limited performances!), Friday, June 23, Monday, June 26, Thursday, June 29, Sunday, July 2, 8:00 – 10:00 PM
Tickets online or at the door, $19 general admission, $17 student admission
Riot Act Theater Facebook Page
Content: Profanity, drug and alcohol use, sexuality, adult themes
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