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A CurtainUp Review
Shakespeare's R&J

Without women men soon resume the savage state. .—Student reading from school text
In Shakespeare's R&J adapted by Joe Calarco, four students in a religious-affiliated boys' school take a break from their rigidly controlled school day and become immersed in Romeo and Juliet. Mauckingbird, a brand new niche theatre company, presents the professional Philadelphia premiere of this much celebrated 1997 play. Given that the company was founded on the proposition of producing well-known plays and musicals specifically from a gay perspective, it is intriguing that this show does not come across as a gay reading. This is not a bad thing, just a curious thing under the circumstances.

The actors play schoolboys and also act multiple roles in Romeo and Juliet. Evan Jonigkeit as Romeo holds the reins very loosely in his hands. His light touch sets up the dramatic developments within Shakespeare's story like a platinum setting shows off a diamond. Conrad Ricamora's modest and plain-spoken Juliet, with no hint of drama queen, stabilizes the whole performance. Newton Buchanan serves up a sassy, black Mrs. Capulet and he also makes an unusually tough Mercutio. Nicholas Park does such a creditable nurse that you could swear he IS an old woman. But despite the actors' lovely handling of their Shakespearean roles, this careful production lacks the heat of a strong connection between the desires of the schoolboys themselves and their acting of the Shakespeare text.

What with the school's repression, this experience should feel a lot more like The Crucible than Shakespeare in Love. The transition from schoolwork recitations to a sudden intense interest in performing Romeo and Juliet is not finessed. As a result the play's sustaining premise is murky and it lacks a sense of danger. Is this due to Peter Reynold's guarded direction or are there opaque areas because Joe Calarco didn't want to show his hand too soon?

An admirable economy of production design is built into the structure. A versatile piece of red fabric serves most prop functions, but some of its uses are more successful than others. Sometimes it's a stretch. For instance, the scarf is not particularly effective in swordplay, especially during the Tybalt-Mercutio duel. If you didn't already know the score, you would have to wonder how it happened that Mercutio is suddenly apparently mortally wounded.

Overall, Calarco's adaptation-play offers a stunningly different context for Shakespeare's rich words and sentiments, and the ending finally resolves questions about the relationship of the boys in the story to the play performance. R & J should ignite fire, but with very fine line readings accompanied by isolated bits of constrained roughhousing, a few pelvic pumps, and a smattering of innuendo, this staging gives off lots of light, but little sizzle and although I have issues with this show, it is well worth seeing. Mauckingbird's production provides a great opportunity to enjoy four able young actors' lucid work with a Shakespearean text.



Shakespeare's R&J
Adapted by Joe Calarco
Directed by Peter Reynolds


Performed by the Mauckingbird Theatre Company
Cast: Evan Jonigkeit, Conrad Ricamora, Newton Buchanan, Nicholas Park
Set and Costume Design: Marie Anne Chiment
Lighting Design: Maria Shaplin
Stage combat: John V. Bellomo
08/01/08- 08/23/08, Opening 08/06/08
I hr 50 mins with one intermission
Reviewed by Kathryn Osenlund based on 08/06 performance at the Adrienne Theater's mainstage, 2030 Sansom Street.
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