A Pair of Star-Crossed Lovers

Shakespeare’s R&J

In the late 1990’s, Joe Calarco faced the daunting assignment of directing a production of Shakespeare’s “Romeo and Juliet” for New York’s Splinter Group. He balked at this task and then hit upon an idea. He decided to write his own adaptation of the play, setting the two-hour production at a strict Catholic boys school. The idea came from the fact that in Shakespeare’s day, only male actors were permitted to perform in theaters. Calarco’s production became a huge hit. It won the 1999 Lucille Lortel Award and its popularity proclaimed the production as the longest running Big Apple version of the Bard’s classic love story. Of all Calarco’s plays, “Shakespeare’s R&J” has been the favorite with audiences in both the US and the UK.

Now PrideArts has chosen to present their own version of Joe Calarco’s work. Originally scheduled to be a production of the original all-male version, the production suddenly lost its director. Instead, PrideArts’ very capable and talented Managing Director, Amber Mandley, was persuaded to take over the directing responsibilities. Reluctant at first, Ms. Mandley’s only stipulation was that she wanted to work with an all female cast for this play. 

Not the first theater company to change the cast’s gender to all female, the concept works well. It’s just that some of the dynamics are slightly different with four young girls in the roles. After a few minutes of establishing the students’ regimented daily routines, which involve conjugating Latin, repeating memorized lessons and going to confession, the girls are ready for something new. In an effort to offer some excitement, one of the students reveals a hidden copy of “Romeo and Juliet.” The forbidden script has been stuffed under the stairs that lead down to some kind of storeroom. After the day’s lessons have ended, she presents the script to her three schoolmates. At first the students are curious and titillated by the taboo text. They read the characters’ dialogue from the script; then, suddenly, they seem to have the lines committed to memory and they run with it. Every once in a while the girls return to the book, but this isn’t a readers theater version of “R&J.” 

As Shakespeare’s tragedy about a pair of star-crossed lovers plays out, the girls get swept away. They become more and more involved in the play’s emotion and the character dynamics as their own fickle, personal relationships are challenged. As the students secretly perform throughout the night, jealousies arise and a jockeying for dominance supersedes the plot. Sometimes this enhances the play, but at other times it only muddies the story. The production, however, is undeniably fascinating and certainly forces theatergoers to think differently about this familiar Shakespearean play. The girls are changed by the end of the night. The playacting has opened their eyes and revealed the real personalities of this close-knit group of friends. We get the feeling that their relationships will be forever changed.

Amber Mandley decided to set her production in 1974. She chose that time period because, despite the girls being isolated at their private religious school, she felt they’d be aware of all the unrest in the world at that time. Since Shakespeare’s classic love story was forbidden to the students in this school, that only made the discovery of this play all the more tantalizing. Joe Calarco’s script condenses the original Elizabethan script, but the main characters and storylines are present. At first the girls take turns playing all the roles, both male and female. Eventually, though, two students emerge as the titular characters. 

Madelyn Strasma (Student 1), who’s uncovered the script and initiates the group’s performance, becomes Romeo. Luz Espinoza (Student 2) ultimately falls into the role of Juliet. These two young actors are filled with enthusiasm and do a pretty good job in these leading roles. Both have strong moments, particularly in the quieter, more introspective scenes. Ms. Strasma clearly has the exuberance of adolescence, while Ms. Espinoza perfectly flashes Juliet’s joy and modesty. As the play progresses, the audience sees the relationship between these two students become stronger and something unspoken develops. But Luz often tends to race through most of her lines so quickly that it’s difficult to comprehend her words. Madelyn, although not always conveying a full understanding of what she’s saying, speaks clearly enough throughout her portrayal of Romeo.

The two actresses who have a stronger command of the language and their characters’ emotional shifts are Hannah Eisendrath (Student 3) and Isabel lee Roden (Student 4). Ms. Eisendrath beautifully plays Lady Capulet, Mercutio and Friar Laurence with a polish and flair. This actress fully understands the Shakespearean characters she’s portraying, while still presenting a strong persona in Student 3. By the end of this play we fully know this teenage girl and can see how this experience has forever changed her. Ms. Roden is excellent as the Nurse, Tybalt and Lord Capulet. Isabel is terrific at mastering both the verse and the vocabulary. She makes Shakespeare’s text crystal clear, something which is helpful to the 21st century theatergoer’s ear. She also creates strong and layered characterizations in her portrayals, although we’re not totally clear who Student 4 really is when she’s not playing a role.

Technically August Tiemeyer’s lighting works well, and Brett Baleskie’s scenic design is attractive and interesting. Both make excellent use of the PrideArts venue. The stairway leading to the basement storage room cleverly provides the required locale for the famous balcony scene. The stage floor is particularly lovely, as well as the accumulation of varied items that make up the set dressing. It’s not clear why there’s a huge picture window in a downstairs room, unless it’s a walkout basement, but by the end of the play we understand why it’s there. Valerio Torretta Gardner’s subtle sound design is particularly masterful. However, Shawn Quinlan’s bright pink costumes, while very attractive, are jarring. They don’t match the somber tone of Shakespeare’s tragedy. True, they provide the look of a schoolgirl uniform, but the short skirts feel out of place. The wardrobe seems more appropriate for comedies or musicals, like “Mean Girls” or “Legally Blonde.”

Amber Mandley’s production of Joe Calarco’s reimagining of Shakespeare’s Romeo and Juliet is interesting and thought-provoking. Assuming most audience members have at least read the play in high school, if not actually experienced a fully fleshed-out production, PrideArts’ offering will provide a new view of the play. Performed entirely by young actors, the play takes on a whole new meaning, but as played by an all-female cast the tragedy of these two star-crossed lovers is a unique and memorable experience.       

Recommended

Reviewed by Colin Douglas

Presented February 25-March 24 by PrideArts, 

4139 N. Broadway, Chicago.

Tickets are available in person at the Pride Arts Center box office or by going to www.pridarts.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.