REVIEW: Black Rep Opens 33rd Season with 1960's take on ROMEO AND JULIET

In director Chris Anthony's notes in the program she discusses the question of relevance where Shakespeare's Romeo and Juliet is concerned. She correctly points out that "Shakespeare wrote a story about two families that are fighting and two teenagers that are in love. If you have ever fought or fallen in love, Shakespeare is for you." This timeless and tragic classic continues to resonate with modern audiences, and under Anthony's guidance it gets a new coat of paint by setting the tale in the turbulent 1960's during the so-called "summer of love". It's an interesting idea, and it pays off winningly with a production that will have a broader appeal than a standard presentation would.

The Montagues and the Capulets are feuding, and when young Romeo crashes the Capulet's party, he's immediately taken with the blossoming Juliet, even though this is an invitation to trouble. A hasty and secretive marriage unites the pair, but Romeo becomes an unwitting and unwilling villain when he's attacked by Tybalt, who murders Romeo's friend Mercutio. This is a tragically ill-fated love story that manages to convey an important lesson about overcoming one's differences. Unfortunately, those changes in heart arrive too late, coming after a number of the lead characters are dead. This is Shakespeare after all.

Sharisa Whatley does exceptional work as Juliet, imbuing this girl on the cusp of womanhood with a real sense of innocence and naivete that serves her character well. Unlike most portrayals, Whatley actually makes you keenly aware of Juliet's tender age. Nic Few is also sharp as Romeo, and he neatly conveys the depth of his feelings for the object of his desire. Together they share a nice chemistry that makes their paring believable.

Standouts among a large and talented supporting cast include: Robert A. Mitchell's touching work as the Friar who aids the young lovers; Ron Himes as the powerful patriarch of the Capulets; Patrese McClain as his self absorbed wife; Khnemu Menu-Ra as the diplomatic Benvolio; Chauncey Thomas as the foolish Mercutio; Linda Kennedy in a variety of roles, but particularly amusing as a horny apothecary; and Andre Frye in a scene-stealing turn as Juliet's Nurse.

Chris Anthony's direction is well conceived, and I especially like the use of period music to set the mood, and to underscore particular moments. A highlight for me is the Capulet's party. Here, Heather Beal's choreography really comes to the forefront, with the cast performing a lively run through "The Madison", and with two distinctly different lip-synch performances. Sean Savoie's moody lighting scheme is nicely rendered, but Jim Burwinkel's scenic design is only serviceable, and doesn't manage to conjure up either Verona or the 1960's. Andrew Keller's fight choreography is well done, with fisticuffs effectively substituting for the swordplay of the original work. Jennifer Krajicek's costumes also add immeasurably to the period feel.

The Black Rep's engaging production of Romeo and Juliet is a fresh and invigorating take on an revered favorite, and it kicks off season 33 for the group in terrific fashion. Romeo and Juliet continues through February 14, 2010 at the Grandel Theatre.

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