ROMEO + JULIET - Circle In The Square (10/11/24)

There have probably been about as many different interpretations of Shakespeare’s greatest love story as there are weekly audience members at Circle in the Square, but few could ever claim to have the same degree of immersion, modernity or youthful exuberance as director Sam Gold’s latest stage exploit, the Tony winner proving again why he's such a sought after visionary.

In many ways, the Circle in the Square is the perfect space for such a unique creative vision, as even before you enter the auditorium the main lobby is decked out to look like a dance club, with disco balls, neon lights and, most intriguingly, a claw machine full of teddy bears, already setting the tone for what you’re about to see. And it’s this tonal consistency, and dichotomy of the old and new, that proves the bedrock of Gold’s vision for this Shakespearean staple.

The company of Romeo + Juliet (credit: Matthew Murphy/Evan Zimmerman)

This immersive nature continues once the show starts, with the walkways all around the audience used to superb effect, giving us the feeling that the story is happening all around us, most effectively executed during any scenes of conflict between the Montagues and Capulets. Costumes (Enver Chakartash), sets (dots) and lighting design (Isabella Byrd), as well as music by Jack Antonoff, were all terrific as well, working together cohesively, embellishing and enhancing what was pretty first rate storytelling.

The energy the company all bring to this play was electrifying, especially during the more tense moments, such as fight scenes between the two feuding Veronese families. Gabby Beans’ take on Mercutio was appropriately bombastic, with the famous “queen mab” speech a major highlight of her performance, as she dazzled and excited. Sola Fadiran’s dual role of both Capulet and Lady Capulet was wonderful as well, displaying with aplomb his versatility.

Rachel Zegler and Kit Connor (credit: Matthew Murphy/Evan Zimmerman)

It was Rachel Zegler and Kit Connor though who are, quite rightly, the focal point of this tragedy. Zegler’s take on Juliet was assertive and earnest, displaying some world class acting, whilst also showing off vocals that would not be out of place in a broadway musical. Connor showed emotional maturity beyond his young years, but also a delightful humour and lightheartedness, endearing the character of Romeo to us with an effortless swagger.

Their chemistry was also fabulous, and the famous “balcony scene” was magnificently executed, which is always the biggest challenge for a theatre director, but also their more sombre, serious scenes contained no shortage of (if you'll pardon the pun) "heartstopping" moments. Was this a production for the ages? No. Did it still effectively communicate the text, and provide a great deal of theatre magic? Absolutely.

★★★★☆

Romeo + Juliet runs at New York's Circle in the Square until the 16th of February