Romeo and Juliet
by William Shakespeare
Directed by Suki Peters
St. Louis Shakespeare
March 28, 2014
Emily Jackoway, Leo Ramsey
Photo by Brian Peters
St. Louis Shakespeare
Romeo and Juliet is, with the possible exception of Hamlet, probably Shakespeare’s best-known play. Most adults will remember it mostly from having to study it in English class in high school, or perhaps from one or both of the most popular movie versions (either Franco Zefferelli’s or Baz Luhrmann’s). This familiarity presents something of a challenge to theatre companies when they produce it. Since everyone already thinks they know what it’s about, the challenge is whether to try to live up to the general expectations (more like the Zefferelli film) or try something more bold and outside-the-box (more like the Luhrmann film). In this latest production, presented at the Hunter Theatre at DeSmet Jesuit High School, St. Louis Shakespeare has gone the more straightforward route. With a production built around the strong performances of its young lead performers, the company has produced a thoughtful, striking and, for the most part, well-paced production of a classic play that is more complex than it may appear.
One of the strengths of this production is that the tone is just right. This is something of a strange play in that it essentially starts out as a comedy. Yes, there are the feuding families–Montagues and Capulets–but the overall tone throughout the first half is lighthearted. Director Suki Peters gets the pacing just right, as we are introduced to Romeo (Leo Ramsey) and his friends Benvolio (Brian Kappler) and Mercutio (Charlie Barron) as they prepare to attend a party hosted by Lord and Lady Capulet (Brian J. Rolf and Christi Mitchel), are taunted by brash Capulet kinsman Tybalt (Roger Erb), and listen to Romeo’s speeches concerning his infatuation with the unseen Rosaline, who he promptly forgets upon meeting the Capulets’ daughter Juliet (Emily Jackoway) at the party. Juliet is young and curious about the world, with a doting Nurse (Jamie Eros) and parents who are eager to arrange her marriage to the well-connected Paris (Paul Edwards). Upon meeting, Romeo and Juliet are suddenly struck by the giddiness and impulsiveness of young love. They secretly marry and are all full of hope for the reconciliation of their families. Then,the belligerent Tybalt, angry at Romeo for sneaking into the party, goes looking for him and things get serious. Mercutio accepts Tybalt’s challenge when Romeo refuses, and an initially light-hearted sparring session quickly turns ugly. Everything goes downhill from there, as anyone who is familiar with the story knows. The second half of the show is all tragedy, and the actors handle the transition extremely well as the play drives to its bleak and inevitable conclusion, in which the star-crossed lovers meet their fate.
The casting is key in this production, and the young leads make a convincing pair. It’s refreshing to see the teenage Romeo and Juliet played by actors who appear to be close to the right age. The youthful energy and impulsiveness is there, and both Jackoway and Ramsey do an excellent job of switching from the more upbeat earlier scenes to the more tragic later events. Ramsey is all earnest and effusive, and Jackoway is full of wide-eyed wonder in their first scenes together, and the classic balcony scene is sweetly romantic and engaging, with genuine chemistry that makes their love scenes all the more convincing, and their parting after the tragedy begins to enfold is both truthful and heartbreaking, as are their tragic last moments. These two are the real emotional anchors of this production, ideally suited for their roles and bringing all the range of emotions from breathless joy to haunting sorrow with honesty and strength. They are well supported by the rest of the cast, especially Eros as the earthy, sympathetic Nurse, Paul Devine as the wise but somewhat bumbling Friar Lawrence, Barron as the witty and brash Mercuitio, and Erb as the menacing Tybalt. Mitchel also has a great moment as Lady Capulet mourns for Tybalt. There were a few supporting players who are less convincing, such as Maxwell Knocke as a particularly surly and shouty Prince Escalus, and Edwards as a basically bland Paris, although for the most part this is a strong cast, demonstrating excellent comic and dramatic abilities as the atmosphere of the play shifts.
The look of this production is very traditional, with well-suited costumes by Beth Ashby and an evocative set by Chuck Winning complete that effectively achieves the Old World marble-and-stone look, with some nice touches like a working fountain. Despite a minor issue with the sound in that I sometimes had trouble hearing what was being said, it’s a solid effort technically. I was especially impressed by Brian Peters’ dynamic fight choreography, particularly the highly suspenseful sword fight between Mercutio and Tybalt and the subsequent battle between Romeo and Tybalt. In keeping with the tone change of the play, the first fight starts out playfully and then swiftly escalates in brutality. It’s an excellent showcase for the actors as well, and Ramsey’s moment of realization after his confrontation with Tybalt is one of the most memorable moments in the show. It’s a very physical production, with a raw emotional energy that builds with startling realism.
This production is sure to spark all the usual debates about whether Romeo and Juliet were really in love, or what would have happened if the families didn’t let their own prejudices cloud their judgment, and whether or not the blend of comedy and tragedy works. In this production, I would say that blend is what works best of all. With two charismatic and youthful leads, and a well-realized vision and excellent pacing, this story unfolds with engaging, shocking, jarring and ultimately gut-wrenching effectiveness. It’s a classic story well-told.
Roger Erb, Charlie Barron
Photo by Brian Peters
St. Louis Shakespeare
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