REVIEW: Hartford Stage, “Romeo & Juliet”

Hartford Stage, Hartford, CT

www.hartfordstage.org

through May 18, 2025

by C. L. Blacke

The brilliance of Director Melia Bensussen’s production of “Romeo & Juliet” cannot be overstated. With a deft hand, she peels back the play’s many layers of pervasive prejudice, generational divide, familial complications, and yes, even young love. She makes one of Shakespeare’s most recognizable plays accessible and relatable to viewers of all ages.

Photo by T. Charles Erickson 

Retaining classic elements of Verona, Italy while imbuing the world with Latin American traditions, Bensussen’s production of “Romeo & Juliet” is as entertaining and lively as it is eerie and tragic. Her inspiration based on Día de los Muertos (the Mexican Day of the Dead) weaves throughout the play in both theme and design. These fragile relationships between light and dark, life and death can be seen in costume designer Fabian Fidel Aguilar’s flower-adorned papier-mâché skull masks, lighting designer Dan Kotlowitz’s hanging tin star lanterns, and scenic designers Christopher and Justin Swader’s lace trimmed bed turned cold, marble tomb. Even choreographed sword fighting is juxtaposed against court dancing with a flamenco flair.

But it’s the cast of many talented equity actors that ultimately makes this production a resounding success. Niall Cunningham as Romeo and Carmen Berkeley as Juliet both embrace their characters’ childish passions and overwrought emotions so convincingly that the audience experiences their relationship’s growth from infatuation and sexual desire to an unbound maturity and purity. The viewer is reminded of their own teenage years when everything is dire and the consequences indeed mean life or death.

This production owes just as much to the lovable duo of Juan Arturo (Benvolio) and Alejandra Escalante (Mercutio). Together, they capture the true comedy of Shakespeare with their bawdy conversations, lewd mannerisms, and good-natured teasing. Despite the many laugh-out-loud moments they provide, they just as expertly sever the lighthearted mood with the clash of two swords. Without pretense, Escalante’s portrayal of Mercutio’s mortal wound turns the story towards its dark and deadly conclusion.

Honorable mentions must also go to Annemarie Kelly’s over-the-top mannerisms of The Nurse and Carman Lacivita’s steady benevolence and guidance as Friar Laurence.

There is no attitude of preciousness in Bensussen’s production. Having stripped away the reverence and sanctity of a Shakespearean play, she exposes “Romeo & Juliet” for what it is—a bawdy, silly, absurd, and tragic love story. Indeed, this production is how every high school student should experience Shakespeare.