For all of its heart wrenching tragedy, its violence and hate, Romeo and Juliet has got to be the most deeply romantic story ever told. While the tale, in many forms, predates Shakespeare, it’s The Bard’s version that has become the most epic. Shakespeare penned the timeless story of two star-crossed lovers between 1594 and 1596, and it’s been reincarnated many times over
Even those who’ve never read the play nor seen it live know the story well. Whether it’s From Here to Eternity, Wuthering Heights, Tristan & Isolde, Pocahontas, or The Notebook, it’s all essentially Romeo and Juliet. It’s a testament to the story’s timelessness that it can be set in so many different periods and told in so many different ways while staying true to the compelling theme of forbidden love.
PCPA presents this story of true love blossoming in a garden of hate and contempt set in the period of its original conception. Director Patricia M. Troxel, who has directed Romeo and Juliet twice before, chose this time period because of what she called the power of the Renaissance world to inform audiences of the understanding of the romance, the violence, the passion, the compassion, and the lyrical beauty of the story.
The setting also gave PCPA set, costume, and lighting designers the chance to indulge in the decadence of Renaissance-era Verona; designers were inspired by ornately decorated architecture, columns, and arches. Jewel-colored stained glass lighting effects grace the stage and the production incorporates the entire theater as its stage.
The setting provides a gorgeous backdrop for a wonderful romp through Verona, where the families Capulet and Montague hold steadfast to a hatred of one another. Kinsmen of the two families battle on the streets, while the Prince of Verona, played by Michael Jenkinson, increasingly becomes weary of the feuding houses. It’s amidst this sentiment that Romeo of the family Capulet woos—and wins—the heart of Juliet, who is, unbeknownst to him, of the rival family Montague.
Second-year acting student Shae Palic delivers an exquisitely lovelorn Juliet. During her scenes when she longs for Romeo, she writhes restlessly, pleading with the darkness to come so that she may see him or she groans and squeals and clutches her chest as she looks to the heavens in anticipation, like a young girl dreaming of a teen idol.
Acting intern J.R. Yancher as Romeo mirrors such exuberance with a Romeo who projects an image of innocence, loyalty, and steadfastness. Together the actors provide an excellent context for presenting the excitement of young love that is deep and true.
Shakespeare’s witty dialogue and playful banter injects plenty of exuberance into the play and no one delivers that better than Quinn Mattfeld, who plays Mercutio. Mattfeld’s Mercutio, all at once a loyal and courageous friend to Romeo and his cousin Benvolio and a Shakespearean frat boy, was a favorite with the audience for his snark and wit as much as his physical comedic delivery.
His delivery was made even more delightful balanced against the Tony Carter’s Tybalt, who is determined to get revenge on the Montague family despite Romeo’s overtures of truce.
Far from just a love story, the play had plenty of action with sword fighting choreographed by Mark Booher. Look for heart-wrenching scenes from Erik Stein as Lord Capulet as he lords over his headstrong daughter Juliet, ordering her to marry the gentleman of his choosing or be cast out of the Capulet house, and Andrew Philpot as Friar Lawrence as he lectures a lovesick Romeo who lay weeping on the ground for not counting his blessings.
The production features many of PCPA’s familiar talent—Elizabeth Stuart as Juliet’s Nurse, Peter S. Hadres as Lord Montague, Evans Eden Jarnefeldt as Benvolio—and therefore many extraordinary characters. The set and costumes are a feast for the eyes, but it’s the story that stands out the most: A tale of love so true it’s worth dying for, a love so strong it can transform hate, and a love so innocent it has the power to change lives.
Arts Editor Shelly Cone can be contacted at scone@santamariasun.com
This article appears in Apr 26 – May 3, 2012.