Adolescent angst, much like the pains of love and the drama of youth, remains a timeless theme. Sam Gold, the director of the newly revived Romeo + Juliet on Broadway, understands this well. The production, a diverse, queer, and very millennial version featuring original music by Jack Antonoff, dives deep into the impulsive nature of the text’s hot-blooded and definitively teenage characters. However, there seems to be a lack of trust in the material. Romeo + Juliet, inspired by the 1996 Baz Luhrmann film and sharing a contemporary, lustful atmosphere, seems too eager to assure today’s youth that the restless teens of Verona were just like them – stressed, overwhelmed, and bursting with emotions.
Fresh from his successful interpretation of Henrik Ibsen’s An Enemy of the People, Gold brings his energetic style to the Circle in the Square Theatre, transforming it into a mix of a playful arcade and a Brooklyn rave. As the audience takes their seats, the cast, dressed in a blend of Bushwick and Netflix high school drama styles, moves around the stage freely – interacting, dancing, and creating an atmosphere reminiscent of a wild party.
The fusion of Shakespeare with a modern twist can be captivating, such as when Gabby Beans, portraying Mercutio, the friar, and the prince, introduces the other actors with enthusiasm and energy. However, at times, it can be off-putting, like a theater teacher trying too hard to engage students in the classics through overt eroticism, Doc Martens, original pop songs by Antonoff, and the inclusion of the TikTok drinking trend known as a Borg (Blackout Rage Gallon).
In contrast to the serious and minimalist rendition starring Tom Holland in the West End, Gold’s Romeo + Juliet, like Luhrmann’s film, leans towards maximalism: glitter, pulsating synth beats, strobe lights, and characters in constant motion. Some decisions may seem frivolous, such as breaking the fourth wall to sing Fun’s We Are Young, performed by Gían Pérez as Samson, Paris, and Peter.
The production, mostly following the original text with consultations from Shakespeare scholars Michael Sexton and Ayanna Thompson, strives to bring out the humor and sensuality of the tragic tale. The actors, except for Connor and Zegler, play multiple roles with a modern fluidity of gender. When Connor’s Romeo reaches out to Juliet on her balcony, he does a pull-up to kiss her, eliciting cheers from the audience.
The play is a mix of disarming and confusing elements, held together by the outstanding performances of the leads. Zegler, with her delicate yet intense portrayal of Juliet, shines as she confronts her parents. Connor’s portrayal of Romeo balances laddish charm with emotional depth, making him a standout in delivering Shakespeare’s dialogue.
While the intense acting may cater to the audience, for whom Shakespeare can be daunting, the play, now tailored for a younger audience, offers a fresh perspective on the classic story. Whether it’s through the use of modern trends like the Borg or a unique take on the balcony scene, Gold’s Romeo + Juliet aims to engage and entertain a new generation.