This company always makes great use of the theatre's beautiful space, and does so right from the beginning of this production, with actors entering from various spots in the woods behind and to the sides of the stage and audience, which immediately immerses the audience in the action, in the performance, something that certainly adds to the enjoyment of the production. The opening speech, done by the Chorus in the text, is given by Friar Lawrence (Max Lawrence) from his spot in the upper stage-right section of the space, with the rest of the cast below receiving it like a sermon, which is interesting. Often when Shakespeare's plays are moved to a different time period or different location, the text remains the same, despite certain inconsistencies that are then created. That isn't so with this production. Some of the lines are changed, and that is clear from that first speech. In the text, the Chorus says "In fair Verona where we lay our scene." Here Friar Lawrence says, "In New York City where we lay our scene." And because this production is making a point of class distinctions, the line "both alike in dignity" perhaps no longer applies, and so the line is changed to "spread apart by disparity." So this opening speech becomes even more important than usual, for it not only does its usual job of setting the scene, but also cues the audience that the text might not always be strictly followed.
The opening quarrel is then performed center stage, and here Benvolio (Jesse Corwin) says "put up your blades" rather than "swords," for many of the people carry knives instead of longer weapons. Tybalt (last night performed by understudy Shane McDermot), however, has a sword. He is further set apart by his red suit, something that shows his fiery personality and disposition. The costumes were designed by A. Jeffrey Schoenberg. Rather than a Prince, this production has a Magistrate, played by Franc Ross, and he is dressed in black with a top hat. Mulligan (Billy Walker) is in brown pants and vest, while Callahan (performed last night by understudy Ethan Haslam) is in black jacket and top hat. Furthermore, both Callahan and the Magistrate carry walking sticks, and those similarities in their dress show that the Callahan family has a perceived advantage over the Mulligan family in this telling, aligning them with the power of the city, which is interesting. Paris (performed last night by Tomas Francois) also wears a top hat, though his is grey.
Romeo (Asher Hagler) makes his first entrance from the audience, and right away displays the right youthful energy. He and Benvolio sit at the edge of the stage. Benvolio delivers his "In love" line to the audience, while motioning to Romeo, which is adorable. And Romeo inserts a pause after the word "love" in the line, "I do love a woman." And on that line, he looks up at the sky, smiling, like Rosaline is an angel, some heavenly being. It's a wonderful way to show his youthful infatuation, and prepares us for his readiness to fall completely for Juliet. There is also some roughhousing between Romeo and Benvolio, further displaying their youth. I love how this production is keen on reminding the audience just how young these characters are. Though, interestingly, it does add two years to Juliet's age, with Lady Callahan's line being "She's not sixteen" rather than the text's "She's not fourteen." By the way, Juliet (Quinnlyn Scheppner) makes her entrance running in from the woods, again showing the youth of the main characters. Her birthday is changed to Independence Day from the text's Lammas Eve (so still in July). Quinnlyn Scheppner is endearing straight away. In her line "It is an honor that I dream not of," she begins with that sense of duty that has clearly been taught her, then suddenly switches her tone after the word "honor" to something that is more honest, getting a big laugh from the audience in the process. As expected, Ellen Geer is absolutely delightful as the Nurse, and some lines are added to account for the Nurse's age. We hear the Nurse's own attraction to Paris in her delivery of lines to Juliet about the man's worth.
Mercutio (Rhett Curry) gets so into his Queen Mab speech that the others worry about him, an interesting touch. Because of the disparity in wealth between the two families, and thus in their clothing, it should be rather obvious to the Callahans that members of the Mulligans are present at the party, though Tybalt still seems to discover Romeo's identity from his voice. Callahan makes it quite clear how eager for violence Tybalt is, how out of control he is, during their exchange at the party. Romeo delivers his initial description of Juliet to the audience from his place in front of the stage. His "two blushing pilgrims" speech is given to Juliet while they dance together. Interestingly, his mask is up so that she is able to see his face, though she still does not know him. On her "You kiss by the book," it is clear she is pleased, happy at the way he kisses. The Nurse delivers her "The only son of your great enemy" line as if that information puts an end to the whole matter, a wonderful reading. And it perhaps is the first hint of any division between Juliet and the Nurse, or at least sets in the audience's mind that a later division is possible. Though mostly what we see of the Nurse is her fierce love for Juliet, as later when she warns Romeo against leading her into a fool's paradise. At that moment, we have no doubt that the Nurse would do whatever was necessary to defend Juliet.
As for the famous balcony scene, Romeo begins it to the right of the audience, so that he is essentially with the audience in his view up at her. And when Juliet enters, she dances onto the balcony, a delightful way to show her youthful excitement at having shared a kiss with Romeo. Quinnlyn Scheppner is excellent here. Strangely, this production uses the Q1 reading of "a rose by any other name," rather than the preferred Q2 and Folio readings of "by any other word." Juliet is so startled when Romeo speaks up that she automatically hides, an adorable and humorous moment. Her delivery of "Or if thou think'st I am too quickly won" is especially good. In her delivery, she realizes that maybe she's given away too much of her thoughts, her desires. On Romeo's "If my heart's dear love," he begins to strike a pose, and Juliet quickly interrupts him, "Well, do not swear." It's a really funny moment. What's especially wonderful about it is that up to that moment, the two have been honest, candid with each other, caught in the moment, in the excitement of their attraction. And this is the first moment when Romeo begins to act, begins to take on the role expected of him as a man proclaiming his love, and Juliet immediately sees the difference and dislikes it, and puts a stop to it. She speaks for everyone in the audience who wishes to experience true love. Both are superb in this scene. One other thing about this scene in relation to this particular telling of the story: her being above him in the balcony could be seen in relation to her family's position in society over his.
There is a funny moment when Friar Lawrence is alone with his basket of flowers and weeds (the flowers, by the way, are purple, matching the flowers wrapping around the post beneath what was Juliet's balcony). On his "being smelt," he offers a flower to an audience member to smell, and then on his "being tasted," jokes about offering it to another audience member to taste. There is also some delightful humor when the Nurse and Peter (Elliott Grey Wilson) return to Juliet, Juliet eager to hear news of Romeo, and the Nurse, tired from the errand, is slow to give it. The Nurse gives a rather serious delivery of "Do you not see that I am out of breath," which makes Juliet's response funnier. It's been said before that Romeo And Juliet is a play that starts as a comedy and ends as a tragedy, and this production puts the intermission at perhaps the very moment when things change, at the end of the second act, when Friar Lawrence goes to marry them, rather than after Tybalt has been killed, as is often done. What's also wonderful about that is that Romeo is not at first aware of the change. After the intermission, he is not aware that he is now in a tragedy. So when Tybalt throws his glove at Romeo in challenge, Romeo kindly retrieves the glove and hands it back to him, a really nice touch. Romeo is at his most blissful here, not cognizant of the change in atmosphere. The difference in the performances here between Tybalt and Romeo is striking, and even those unfamiliar with the play would know something is bound to go wrong.
The scene where the Magistrate and the families enter following the fight between Romeo and Tybalt is especially powerful in this production, and it is where we see that everything has changed. There is a general woe, and no one is pleased. In fact, the last person to remain happy, but not for long, is Juliet, for she is unaware of what has just transpired. And she gives her "Gallop apace" speech down below, rather than above, Juliet taking center stage here, for at this point she believes she is in control, at least somewhat, of her story. She's eager to go to bed with her husband, and nothing else matters. But with the Nurse's entrance and the news she brings, that changes. Quinnlyn Scheppner is fantastic in this scene, kneeling down, weakened by the news as it hits her. It's also wonderful how the Nurse quickly returns to her need to protect and comfort Juliet, pulling herself out of her own despair over Tybalt. When Friar Lawrence gives Romeo the news of his banishment, Romeo too falls to his knees, connecting him to Juliet even as they are apart. Interestingly, the Nurse is then a commanding presence before Romeo, ordering him, "Stand up, if you be a man." Because of the change in location of this production, Friar Lawence's mention of Mantua becomes a mention of Jersey City, which gets an unintentional laugh. New Jersey has long been the punchline of jokes, and the idea of being banished from New York to New Jersey is hilarious, in part because many see it as a real punishment. It is perhaps the only time that the change in location works against the production. (Later, Hoboken is mentioned, also getting a laugh.)
There is some really nice work in the scene where Callahan tells Juliet of the match he's arranged for her with Paris. It's not an easy scene, particularly for Callahan and Lady Callahan (Michelle Jasso), who sometimes come across as monsters devoid of any parental love whatsoever. But in this production when Callahan tells Juliet about how he's worked to find her a proper match, we do see that something in him cares for Juliet, that he is trying to do the right thing for her. And that moment when Juliet realizes she's alone, when even the Nurse seems to have turned against her, is outstanding. Maybe the thought of being alone in that manner isn't quite as terrifying for someone on the verge of sixteen as it is for someone on the verge of fourteen, but it is still striking. When Juliet goes to Friar Lawrence, the position and posture she assumes on the floor when threatening to kill herself is nearly identical to that of Romeo earlier, again connecting them even when they are apart. And when Juliet returns home to pretend to agree to the wishes of her father, Callahan is so pleased, so excited, that it makes sense that he wants to set the plan in motion immediately, a day early. And that excitement carries the family through into the next morning, when there is a festive air, while Juliet lies still in the area above them. What a fantastic stage picture that makes. It is excellent that the audience can view Juliet while the family rushes about in joyful preparation for the wedding.
The performance moves at a fast pace, particularly toward the end, when it seems to be caught in its own momentum. This works fairly well for the most part, except once it gets to Juliet's tomb, and then the speed seems somewhat at odds with what the characters are doing. It feels that some of the exchange between Paris and Romeo is cut, an important exchange that is needed. And, stranger still, Romeo seems to be in a rush to kill himself once he is by Juliet's side, which doesn't feel right. Often, even when we in the audience know very well the outcome, there is that thought, that hope, that if Romeo lingers a little longer before taking the poison Juliet will awaken and all will be well. That is lacking in this production because Romeo moves with such haste. On the other hand, it works quite well that Friar Lawrence moves quickly. In fact, it's wonderful how frantic he is in this production, for we know then that he can't really be of help to Juliet. Juliet is quick too, but there are the sounds of other people approaching, so her haste makes more sense. The performances are so good that we want a little more time with the two lovers before the very end.
This production of Romeo And Juliet runs through September 26, 2026, running in repertory with A Midsummer Nigh's Dream and a few non-Shakespeare plays. Visit the theatre's website for the complete schedule. There is one intermission, coming at the end of Act II. Will Geer Theatricum Botanicum is located at 1419 N. Topanga Canyon Blvd. in Topanga, California.
