BWW Reviews: New Jewish Theatre Presents ROMEO AND JULIET

If you've read my reviews for the last few years then you know that I really enjoy a good re-imagining of a classic. I like experimentation in theatre, and it's always a thrill to see new life pumped into a time-worn favorite. There are certainly a lot of interesting ideas at work in writer/director Robin Weatherall's revision of Shakespeare's Romeo and Juliet, and it's definitely deserving of being labeled as provocative. But, unfortunately this rare misfire from the New Jewish Theatre, which plays through May 2, 2010 at the Missouri History Museum, only manages to provoke confusion.

Placing Shakespeare's tragic romance of star crossed lovers in Jerusalem, during the British mandate of Palestine, and covering the time period from December 1947 to March 1948, might seem to be an engaging proposition, but with nothing overtly political to play within the original text, the idea fails to come to fruition. However, we are still left with Shakespeare's marvelous language, as well as his heart-breaking plot. It's just a shame that the elements surrounding them seem so ill-suited.

Meg Rodd Gunther makes a cute and appealing Juliet, filled with the rush of first love. The anxiety and impatience she displays while awaiting news about Romeo from her nurse nearly captures the mood of a young teenaged girl. Rusty Gunther doesn't fare quite as well as Romeo, lacking an onstage chemistry with his leading lady, and rarely projecting the right image that would make us understand what Juliet sees in him.

The supporting cast is a mixed bag, with Brooke Edwards' wildly watchable performance as a gender-switched Mercutio only matched in energy and vitality by Charlie Barron's turn as Tybalt. Kevin Beyer also has some nice moments as the former Friar Laurence, changed here to a British Army Chaplin, to no discernible benefit. And, Amy Loui delivers a passionate performance as Lady Capulet.

Robin Weatherall's direction has its moments, and the filmed clips that open the show and play during scene changes are intriguing, but the performances are uneven at best, and the setting isn't really exploited in any way that enhances the story. Weatherall's sound design does add considerable mood to the piece, though. Dunsi Dai's multi-level scenic design is serviceable, but seems stuck somewhere between Verona and Jerusalem. Michele Friedman Siler's costuming does the best job of delineating the two distinctly different cultures.

The New Jewish Theatre's unique presentation of Romeo and Juliet continues through May 2, 2010 at the Missouri History Museum.