Interview: ROMEO & BERNADETTE's Nikita Burshteyn on Originating the Role of Romeo and More!

Romeo & Bernadette: A Musical Tale of Verona and Brooklyn is now running off-Broadway, with book and lyrics by Mark Saltzman, music adapted from classic Italian melodies, directed and choreographed by Justin Ross Cohen. Presented in association with Amas Musical Theatre at Theater 555, performances have just extended through Sunday, July 31!

Romeo-yes, THAT Romeo-finds himself in 1960 Brooklyn, chasing a girl he believes is his beloved Juliet. But no, it's Bernadette, the beautiful, foul-mouthed daughter of a crime family in this wild spoof of Shakespeare's timeless tale.

The cast for Romeo & Bernadette features Nikita Burshteyn (Newsies), Anna Kostakis (Romeo & Bernadette), Carlos Lopez (SpongeBob Squarepants), Michael Marotta (Tenderly: The Rosemary Clooney Musical), Judy McLane (Mamma Mia), Michael Notardonato (Romeo & Bernadette), Ari Raskin (Romeo & Bernadette), Troy Valjean Rucker (August Rush) Zach Schanne (Pippin), and Viet Vo (Viet Gone).

We chatted with Nikita Burshteyn about his experience originating this role, his favorite memories working on the show, and much more!

This is your off-Broadway debut, what has the experience been like for you?

First, I'd like to say hello Stephi, and thank you for having me. Yes, the production of Romeo and Bernadette as a whole is my Off-Broadway debut, but technically not with this run. Back in January of 2020, the show had a skyrocketing five week run at the ART New York Theatre. It was with that run that I made my Off-broadway debut. Our current run at Theater 555 is an extension of my Off-Broadway experience, but I am so honored and humbled to be back telling the story of this wonderful show as Romeo once more. The experience overall has been an absolute dream. For years I've dreamed of doing a show in New York City, and to be able to finally make that dream a reality is surreal, especially with a cast and creative team that is as incredible as that one that we have. They are truly a second family to me, we are so close to one another and connect so well with each other on and off the stage. My La Famiglia!

How has this experience been different from projects you've worked on in the past?

Well there are more smaller details in differences that are huge for me personally. For example, until this show, I have never done a full 8 show week. I've done 7, but to finally be able to say that I've done 8 is a good feeling overall. I think the most important difference for me is that I grew up in the San Francisco Bay Area. I trained my voice there, my acting, my dancing. I never had an opportunity to do any projects outside of the Bay, but I am so honored to say that the Bay Area theatre scene has trained me into the performer that I am today. So to have this change of scenery... to say that I am doing a show in New York City is on its own an absolute wonder for me. However it goes so much further than that. I have never been a part of a project that is now officially a New York Times Critics Pick. I have never been part of a project that has won two Outer Critics Circle Awards. I have never been a part of a project that has two Drama Desk Award nominations under its belt. I have never been a part of a project whose book and lyrics are written, brilliantly if I may add, by a seven time Emmy Award winning writer, two time 2020 Drama Desk Award nominee for book and lyrics, and 2020 Outer Critics Circle Award winner for Best Book of a Musical, our dearest and brilliant Mark Saltzman. I've never been part of a project that is under the direction of a wonderful director whose career spans decades of Broadway greatness, working with names like Bob Fosse. A resume that travels from his forehand all the way down to his toes, our Broadway's own Justin Ross Cohen. I've never worked with a Tony Award Lighting Designer, the great Ken Billington. I've never worked under such incredibly beautiful orchestrations that were composed by a Tony Award nominee, the great Steve Orich. I've worked with other Broadway actors in other projects before, but to be sharing the stage with Broadway veterans like Judy McLane (who also won an Outer Critics Circle Award for Romeo and Bernadette) and Carlos Lopez is such an incredible honor for me. The list goes on and on, on how this project differs to me on so many levels from all my other ones, but I believe what I just mentioned is more than enough for readers to google, research and awe at how incredibly talented this creative team is. I get chills down my spine every so often as I remind myself that I get to work with these incredible people.

What drew you to this show?

It's actually a very interesting story. In the spring of 2019 I went in for an audition for a project that was produced by our dear Eric Krebs, the producer of Romeo and Bernadette. After my audition, he tells me "Nikita look...you're not quite right for this project...but later this year, there is a project coming that I think you would be perfect for, it's called Romeo and Bernadette". Well Spring passed, Summer passed, and come October I noticed a call going out for this project that caught my eye immediately...whaddaya know... it was Romeo and Bernadette. I called my agent and told them that I remember that I was told to go in for this project about 7 or 8 months ago. Got an appointment, and the rest was history. Eric is still amazed to this day that he told me to look out for this show, because his words never left my mind.

What was it like to originate this role?

I am fortunate enough to say that I have had a number of experiences where I have had an opportunity to originate a role, but the role of Romeo is unlike anything I've ever experienced before when it comes to originating a character. I can't thank Mark Saltzman and Justin Ross Cohen enough for entrusting me to take on such a rich character that is as physically, vocally, comedically and emotionally demanding as Romeo is. I am forever grateful to them. And once again I can't thank our dear Mark Saltzman enough for writing a character that has so many juicy details that you can work off of. If you think about it...you are Romeo...THE Romeo Montague from the year 1560. You've been asleep for 400 years, and magically end up in 1960's Brooklyn...your vocal styling is Shakespearan (like a reviewer and now a dear friend of mine mentioned back in 2020: 'He's like a graduate of RADA'). Then in 1960's Brooklyn you kind of feel like James Marsden in the movie "Enchanted". The comedy you build between the two different time periods, and trying to adapt yourself as a 1960's Italian brooklynite is beautiful to work off of. Then there is the authentic, romantic aspect to this character that Mark wrote and Justin directed so elegantly that makes the audience simply hold their breath with every performance...and find love within themselves and their partners. Oh, and if that wasn't enough, add in the incredible orchestrations from Steve Orich which he wrote so beautifully around my voice that just pulls on your heart strings. To be able to work with original music like that was a dream, and it developed my classical operatic styling more and more as we progressed. To develop this vocal styling, this arch of the character and this balance between the comedy and the romanticism of Romeo back in 2020 was so rewarding on so many levels. I just can't believe that I get to continue to show this originated work into the month of July.

How is your character similar, and different, to the Romeo that Shakespeare wrote?

To add on from the last answer, we always promote the show by starting with "Romeo yes, THAT Romeo...". This means, the Romeo that you see in this show is very much THE Romeo that we know of from Shakespeare's classic. Our Romeo still speaks in blank verse, and still uses old Elizabethan English. Our Romeo is most certainly just as hopelessly in love with his Juliet (or should I say Bernadette who is played fiercely by Anna Kostakis) as Shakespeare's Romeo is, but the musical comedy element to the show definitely eases the tensions that Shakespeare's Romeo goes through. You don't see a murderous side to Mark's Romeo as you do in Shakespeare's when he kills Tybalt, although in the second Act, as one of our most serious moments in the show...I do address my best friend in the show, Dino, who is played beautifully by Michael Notardonato, that if you kill someone "All the good within thee, shall die", and Mark's Romeo is certainly speaking from personal experience there. Overall, Mark Saltzman's Romeo creates a far more light hearted atmosphere, than Shakespeare's does.

What are some of your favorite memories working on this show so far?

Oh where do I begin? Well for starters, I'd like to acknowledge my La Famiglia, my dear cast family, for making every single rehearsal, every single tech day and every single performance a memorable one. When I tell you how fortunate I am to be part of a cast who is close to one another, who consistently stay connected with one another throughout the entire pandemic and who simply couldn't wait to see one another again, I don't say that lightly. I think that originating something as brilliant as this show bonded us all in a way that we would never forget. The inside jokes, saying our lines in such particular ways that they become quotable to us and being there for one another when some blocking or idea needs to be reimagined. These are just a few things that I'll remember forever, being there for one another. Another is having audience members tell us after shows and write us letters saying how our show was exactly what they needed right now at this time. With everything that people have gone through over the past two years, people feel negative in such hard times, unmotivated and even depressed. These wonderful folks came to see our show and told us our show took them out of those states, and I'll remember and cherish that forever. Our show has the love, the kindness, the humor and the power to make people forget about their worries and feel better inside their hearts and their minds. The more audiences we can reach with this message of goodness within themselves, the better. What can be more reassuring and memorable for the heart then hearing someone tell you that you made their day better with your storytelling.

Anything else you'd like to share with our readers about the production, that you think people should know?

Well, I am very excited to announce that Romeo and Bernadette is now officially extending for another 5 weeks, until July 31st, at THEATER 555 located on 42nd St. (Between 10th and 11th Ave)!!! We are so excited to be able to continue to tell this wonderful feel good story for another whole month!! You can purchase tickets at the show's website: www.romeoandbernadette.com. Also, please follow us on our instagram account: @romeoandbernadtte and even our Tik Tok account: @romeoandbernadette!

Thank you once again to Stephi Wild for having me! To the wonderful readers, thank you for taking the time to read the responses to these awesome questions, and I sincerely hope we see you at one of our performances in the coming weeks!!! Until then, Romeo bids thee farewell!

Photo Credit: Russ Rowland