through March 20, 2016
by Bernadette Johnson
Artistic Director Darko Tresnjak wasn’t taking any chances. For this, his 25th production of Shakespeare’s works, his fifth in as many seasons at Hartford Stage and his first of “Romeo and Juliet,” Tresnjak not only directed, but cast his favorite actors and designed his own set, thus ensuring the integrity of his creative vision for this classic tale of star-crossed lovers. Bravo!
Artistic Director Darko Tresnjak wasn’t taking any chances. For this, his 25th production of Shakespeare’s works, his fifth in as many seasons at Hartford Stage and his first of “Romeo and Juliet,” Tresnjak not only directed, but cast his favorite actors and designed his own set, thus ensuring the integrity of his creative vision for this classic tale of star-crossed lovers. Bravo!
Braving the
controversy over “modernized” productions of the Bard’s plays, Tresnjak has
preserved Shakespeare’s text all the while challenging his audience’s
preconceived notions, stripping historic Verona down to a gravel pit, which
serves equally well as town square, the friary, a meeting place, a hall in
Capulet’s house and a burial crypt with naught but a rising/arched platform for
variation. Ever prominent is a columbarium backdrop, engraved niches housing
the cremains of the feuding Capulet and Montague families, a section of which
transforms into Juliet’s balcony. The pièce de
résistance, however, is an imposing stage-width “iron” gate that
descends to heighten the final tragic scene.
Tresnjak’s casting is
impeccable. Chris Ghaffari’s Romeo and Kaliswa Brewster’s Juliet are perfectly
paired. Ghaffari is the embodiment of the love-struck, swooning suitor, his
expressions and movements playful and endearing. He delivers his lines so
effortlessly that one tends to forget it is Shakespeare’s dialogue he is
speaking. Brewster looks the part with her youthful features and convincingly
dramatizes Juliet’s transformation from naïve 14-year-old to impassioned lover.
The chemistry between Ghaffari and Brewster is tangible.
The other actors are
superb as well. Wyatt Fenner’s Mercutio is the poster boy for ADHD, especially
in his dream ramblings. As Romeo characterizes him, “He’s a man who likes to
hear the sound of his own voice.” Also notable are Charles Janasz’s embodiment
of the compassionate Friar Laurence and Timothy D Stickney’s gripping
performance as Capulet in his paternal demands of obedience from Juliet. Adding
a touch of humor are Kandis Chappell's Nurse, whose disgruntled expressions speak
volumes, and Raphael Massie as the illiterate servant Peter.
Kudos to lighting
designer Matthew Richards, whose shadows loom ominously during Mercutio’s dream
narrative and over Juliet’s drugged form, and whose vigil lights hint of the hope that can emerge from tragedy.
Don’t miss this one.
