MN Opera’s newest mounting of the renowned Romeo & Juliet is a dazzling feat for the eyes and ears. Last mounted in 2016, it seems apt that the Opera has decided to take on the timeless story of two rival families and the two naive children to attempt to unite them, in yet another tumultuous election year. Whether planned or not, the messages within the piece resonate extremely loudly.
While the rival adults come to blows at the slightest annoyance with one another, it is the youth who see through the noise and strive to create a place of unity. Although the story ultimately ends in tragedy, it is the journey that the two star-crossed lovers take that carries the biggest message, love endures through all.
As the story is so well known to the audience, the score, vocals, and visuals are allowed to take the spotlight in this production. Under the direction of principle conductor, Christopher Franklin, the MN Opera’s orchestra is in peak form as they navigate Charles Gounod’s breathtaking score with such ease and passion.
Giving further life to the world of fair Verona is lighting designer Paul Whitaker, whose designs are not only gorgeous to look at but also striking in their meaning. When the audience beholds the deaths of Marcutio and Tybalt, Whitaker beautifully blends their rival colors (red and blue) into a stunning purple that illuminates the giant roses that hang suspended above the stage. Signaling the loss of life on both sides of our character’s families. It is the subtle lighting changes that illuminate Whitaker’s work the most. Demonstrating that not only does he understand the text but also the emotion behind the words.
Assisting in the visual spectacle on display is Costume Designer, Sarah Bahr, who has accomplished something quite revolutionary. Using vibrant and historically accurate costume designs, Bahr’s work is nothing short of astounding and transporting. From the first moment that the cast is seen on stage, entering with such flourish, and elegancy, the audience can only marvel at the artistry at work. In what can only be described as a painstaking process, Bahr has brought the 16th century to life in truly remarkable fashion that is sure to delight and stun fans of the time period.
Then there are those who embodied the roles within the show. It is no small feat to take on such coveted roles but the cast of singers present, do so with such grace and power that there is rarely a moment that the audience is not enraptured. The vocal prowess on display, primarily from Jasmine Habersham (Juliet), Evan LeRoy Johnson (Romeo), Charles M. Eaton (Mercutio), and Kara Morgan (Stephano) is transcendent. There is never a false emotion presented and when they are each given their time in the spotlight, the audience seems to hold it’s breath for the entirety of their song before exploding into thunderous applause.
While the second half of the opera begins to drag, due only to the authorship of the piece and not the performances being given, the final scene provides the emotional release that the audience knows is coming, to devastating affect. As the curtain falls on the slain lovers, the final visual is beyond striking. A warning to those who are naive enough to think that young love alone can bridge the gap between warring factions.
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