‘Romeo & Juliet’ lacks chemistry

STAR-CROSSED PRODUCTION: Orlando Bloom & Condola Rashad in ‘Romeo & Juliet’. Photo: Carol Rosegg

ROMEO AND JULIET
Written by William Shakespeare
Directed by David Leveaux
Richard Rodgers Theatre
226 West 46th Street
(877-250-2929), www.RomeoAndJulietBroadway.com

By David NouNou

Alas, what a pity for William Shakespeare that his plays are being reduced to gimmicky shows to draw in an audience.  Earlier this year, his Macbeth was done as a one-man show, with Alan Cumming playing virtually all the parts. Now, Romeo and Juliet, what might be Shakespeare’s most accessible play, has been reduced to an interracial version. How original. Did anyone on the creative staff ever hear of West Side Story? Now that was revolutionary. Did any of them see Baz Luhrmann’s 1996 original concept movie, Romeo + Juliet, set in Venice, California instead of Italy? Now that was radical.

The fault indeed lies not with the play, for it is still a masterpiece, but with David Leveaux’s misguided and unfocused direction. About the only thing that is intact is the florid language, but as spoken by the actors on the stage of the Richard Rodgers Theatre, one wonders at times what language. We are treated to: the traditional dialogue, garbled, high-school-level delivery, jive talk, and speed-reading delivery. Where was the ear to rein all this mayhem? However, nothing is as baffling as Leveaux’s choice of having Lady Capulet (Roslyn Ruff) doing a native African tribal dance in the middle of Act I, during Juliet’s ball. Even having Romeo (Orlando Bloom) making his entrance riding a motorcycle is more laughable and ludicrous than imaginative and original.

If there is anyone out there unfamiliar with the plot, Shakespeare himself said it best in the prologue;”Two Households, both alike in dignity, in fair Verona, where we lay our scene, from ancient grudge break to new mutiny, where civil blood makes civil hands unclean. From forth the fatal loins of these two foes a pair of star-crossed lovers take their life.” It would help immensely if you heard these words sung to the 1978 Alec R. Costandinos’ album of “Romeo and Juliet.” Now that was phenomenal. It can be seen and heard on Youtube.

Orlando Bloom as Romeo, and Condola Rashad as Juliet, are the two young doomed lovers. The problem here is that they are doomed long before the show comes to its tragic end; the reason being is that they lack any form of chemistry or cohesion together. Mr. Bloom of Lord of the Rings and Pirates of the Caribbean fame lacks any charisma or fire to ignite his Romeo. He is too old to play callow with charm and ardor; instead, he comes off as a whining simp.

Even Condola Rashad, who is always charming and enthralling to watch, is lost here. She has no real grasp of the Shakespearean language or her character. At every turn, it seems she is sabotaged by her director, Mr. Leveaux; whether it’s her famous balcony scene reciting her “Romeo Oh Romeo” soliloquy, or her giddy conversation with her Nurse (Jayne Houdyshell) or even her scenes with Friar Laurence (Brent Carver), she is stiff and lackluster. She lacks the passion, spark and yearning of a young girl who is deliriously in love with her first and only love.

This version of Romeo and Juliet seems to be neither fish nor fowl; for it can neither swim nor fly. It seems stuck in its place, much like a kiwi bird that keeps flapping its wings but is never airborne. It can’t decide whether it wants to go the traditional route by using Shakespearian language or go the hipster route (replete with grunge gray/black drab costumes and scenery – which makes the show even drearier) to attract a new audience who is familiar with Mr. Bloom. Ultimately, it just ends up as a hodgepodge mess.

Besides Romeo and Juliet, there are at least three more Shakespearian plays coming this fall alone: Yet another Macbeth at Lincoln Center with Ethan Hawke; an all-male version of Twelfth Night and Richard III, both with the formidable Mark Rylance. One can only hope these other shows will be more focused and pleasanter evenings to endure.

JULIET’S BALCONY IN MID-AIR: Condola Rashad in ‘Romeo & Juliet’. Photo: Carol Rosegg

Edited by Scott Harrah
Published September 19, 2013
Reviewed at press preview on September 11, 2013