By Robert Bethune
It is difficult to kill Shakespeare, and even more difficult to kill "Romeo and Juliet," now in production by the Water Works Theatre Company out-of-doors at Jaycee Park in Royal Oak. However, it is difficult to make Shakespeare truly come alive. The language is far more artful than modern English, and the sheer size of the passions asks much more of modern actors than do modern plays.
The Water Works production is adequate, but not stellar. Director Jeff Thomakos tries to give us a "godfather style" Italy, principally through physical horseplay a la "The Sopranos" or "The Godfather," and by asking actor Will Luchin to play Escalus like a garbage-truck shark. It does not work. The pulse that beats in the play is that of the Renaissance, not of 19th century Sicily or 20th century New Jersey.
At a superficial level, there is a great deal of swordplay, and it is very well executed in the production. Kudos to fight choreographer Michael Brian Ogden. The sword fights and weapons, however, are completely at odds with the "Goodfellas" culture of the costuming and some characterizations, especially when Escalus, the 20th century Godfather, shows up to stop a sword fight with an 18th century muzzleloader that does not go off when it should have, if indeed it could have. At a fundamental level, the complex, brilliant and artful poetry, the psychology and values of the Renaissance, and the deeply intertwined moral and erotic elements in the story just do not fit a "Goodfellas" approach.
The production fights an uphill battle against the playing space. The stage is oddly distant from the seating. This play craves intimacy, not distance. The sound reinforcement work by Tim Sutton, however, is excellent; you would not know the show was amplified except that the actors kicked the mics a few times.
Dylan Stuckey as Romeo and Anne Marie Damman as Juliet, like the production in general, are enjoyable but not stellar. I give Thomakos and Damman credit for tackling "Gallop apace, ye fiery-footed steeds," Juliet's first speech in Act III. It is one of the most demanding speeches in all of Shakespeare, if not indeed in all of drama. They take a good crack at it, but do not really solve it. Her vocal problem in this speech is the same as the cast generally: Shakespeare's language demands extraordinary vocal versatility and variety. You cannot park yourself in one register and live there, for if you do, you drone – and you must not drone Shakespeare.
Benvolio is played by – and as – a woman in a very capable performance by Jaclyn Strez, who never drones. This bold choice by Thomakos makes Benvolio a much more interesting person; she becomes the the sword-fighting tomboy next door, in love with Romeo, who never notices. She makes the most of her opportunities.
Thomakos makes another interesting choice by casting Friar Lawrence, played very well by Aaron Kirby, as a young man Romeo's own age, rather than the older figure usually presented. His performance is nuanced, interesting and believable.
However, a production of "Romeo and Juliet" cannot soar based on strong performances in the smaller roles.
REVIEW:
'Romeo and Juliet'
Water Works Theatre Company at Starr Jaycee Park, 1101 W. 13 Mile Rd., Royal Oak. Through Aug. 10. Tickets: $16-$20. For information: 248-399-3727 or http://www.waterworkstheatre.com.
