Actors Shakespeare Project presents ROMEO & JULIET. Written by William Shakespeare. Directed by Marianna Bassham. Movement Choreography by Ilya Vidrin. Lighting Design by Deb Sullivan. Costume Design by Lisa Coleman. Props Design by Grey Rung. Scenic Design by Saskia Martínez. Sound Design by Jesse Hinson. At the Roberts Studio Theater, Calderwood Pavilion, 527 Tremont Street, Boston, through June 2, 2024.
By Linda Chin
The works and words of William Shakespeare can be difficult to appreciate – and some may say, stay awake for – but after seeing their accessible production of Romeo and Juliet, I felt grateful that Actors Shakespeare Project chose to present this story this season (they last staged it a decade ago), and is part of the Boston arts and culture ecosystem in general. As seen in last year’s As You Like It, ASP intentionally blends stage (and Shakespearean) veterans with younger actors from local conservatories and communities, an ensemble of diverse storytellers playing diverse human characters – as I like it.
With Shakespeare’s creation of titular characters who are adolescents, the story’s “fatal flaw” being the impetuousness of youth, the “us” and “them” mentality that is so pervasive in the US, and the upsurge in violence worldwide, the reasons for presenting this story, at this time, make perfect sense. Also clear is the vision and sensitive direction by ASP Resident Acting Company member Marianna Bassham. Bassham helms this production of Romeo and Juliet with sumptuous staging and storytelling, and simple but impactful star-filled and sword-free moments.
Rather than be constrained by the centuries-old original work, previous actors or companies’ stage versions, or the film version, or having to seek the playwright/licensing company’s approval for changes, ASP has taken the liberty of cutting the text, being fluid and open in its casting and updating the ending. The actors seem to enjoy having the freedom to add their authentic selves to their portrayals. All that being said I think the Bard is smiling, not rolling in his vault.
Typically, the rivalry between the Houses and fighting with swords and other weapons get more stage time than verbal sparring, emotional battles, or family dysfunction. High-society families handed off the responsibilities of raising their young to domestic help, clergy, friends, and fate. In ASP’s contemporary take, Resident Acting Company member Esmé Allen, Artistic Director Christopher V. Edwards (in his ASP acting debut), and Co-Founder Paula Plum provide multi-layered and emotionally-nuanced portrayals of Lady Capulet, Lord Capulet, and Nurse, who are more involved with the younger generation than how their characters were written four centuries ago. Sandra Seoane-Seri was sensational as Tybalt, as was Chloe McFarlanez as Juliet. I would fully expect to see them on professional Boston stages again soon.
The show could benefit from an audio description, but the props, lighting, and set design for this world of Verona, with the bloodbath of pink oozing off the stage, steps, and into the first row where my theater dates and I were sitting were not only a visual feast but an additional character. I would love to see the show again. For tickets and information, go to: https://www.actorsshakespeareproject.org/
