Review: ROMEO AND JULIET at Capitol Musical Theatre, Wroclaw

I would be brief for this text as I’m still processing this show. It was a mixture of contradictions that was made to impress. It was a mixture of contradictions that aimed to impress. I was impressed and in a way obsessed by certain points.

Firstly, the costumes (by Mirek Kaczmarek) deserve a big bravo. These pieces are like a show in their own right for me, they are funny, bold, sparkling, and very remarkable. It is as if there are no limits to imagination. I loved every inch of these costumes and hope that one day there will be an opportunity to see them up close or maybe borrow them with no return date. They bounce with the actors, making the whole show a flood of colors in the background of the cemetery. These tones and joy with the greyness of the set and scenography make contradiction number one.

Contradiction number two is the love and hate that fly around the stage. The love between Romeo and Juliet is in opposition to what is happening in their families and this hate is presented as a dance, an aggressive battle/runway. Amazing.

The third contradiction is despair and laughter, which is a lifeline. I loved Paris' (Mateusz Kieras) dance and how he made this painful (and beautiful) story more accessible with absurd but necessary movements.

Well, let’s talk about Paris… he’s one of my top three favorites in the show. His moves, his dancing, his voice, his charisma—everything screams splendid, even his mustache! This character is far from bland (I wasn’t a huge fan of him in the book), but here he’s like spicy salsa in a world full of rice.

The second part that impressed me a lot is Romeo (Jan Kowalewski), because he’s (spoiler alert) not romantic! He is a spoiled, unstable, neurotic, irritating, and annoying character, like that fifth cookie—you know it's terrible, but you can't resist, and the enjoyment is stronger. Jan Kowalewski, however, has one big advantage over the cookie: he sounds fabulous.

The top three is rounded out by Hugo Torres, who is both young and ruthless in his ability to make the audience love him. His Mercutio is like a magician pulling rabbits out of a hat while juggling chainsaws—impressive and slightly terrifying. The way he controls the chaos is remarkable, and I was hoping he somehow rises from the dead in the second act so we can enjoy him even more.

Apart from that, the Capulets are great: Cezary Studniak (he should dance more!), energetic Justyna Szafran, and Klaudia Waszak as Juliet. Rosaline (Ewa Szlempo-Kruszynska) is phenomenal, and Father Laurent (Konrad Imiela), dispenses his swagger and wisdom like it’s holy confetti.

The big players in this show are also the projections (by Natan Berkowicz), which were almost overwhelming in their awesomeness. Somehow, I felt that the actors got lost and seemed too small in this visual extravaganza. It’s an odd thing to say, but the projections were almost too good and there were just too many of them.

Last but not least, the music by Endy Yden—vibrant, fresh, modern, and original—elevates the action to a cosmic level. In contrast to the cemetery and the cruelty of death, it transforms the experience into something like floating through the universe.

This show is unique and original, yet it reminds us that love and death are somehow universal.

Photo: Lukasz Giza

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