Romeo and Juliet Previews — Page 3
#52
Posted: 8/25/13 at 12:18am
I thought it was spotty, but it had its effective moments. All in all, I'd call it satisfactory.
The main problem was audibility. The play is modernized, with a lot of self-conscious, gimmicky touches that serve to (and perhaps strive to) call more attention to themselves than to illuminate the text, eg. Juliette delivering a speech standing on a swing.
Visually, it's spare, but handsome, with some evocative lighting and music. A huge church bell is a portentous presence throughout. (For whom does this bell toll?) Sand and fire also serve as weighty symbols.
I thought the two leads made an appealing couple, and did a good job evoking the springtime of love. They worked best in their lyrical scenes together. Of the other cast members, I thought Christian Camargo as Mercutio and Conrad Kemp as Benvolio came off the best.
The main problem was audibility. The play is modernized, with a lot of self-conscious, gimmicky touches that serve to (and perhaps strive to) call more attention to themselves than to illuminate the text, eg. Juliette delivering a speech standing on a swing.
Visually, it's spare, but handsome, with some evocative lighting and music. A huge church bell is a portentous presence throughout. (For whom does this bell toll?) Sand and fire also serve as weighty symbols.
I thought the two leads made an appealing couple, and did a good job evoking the springtime of love. They worked best in their lyrical scenes together. Of the other cast members, I thought Christian Camargo as Mercutio and Conrad Kemp as Benvolio came off the best.
Updated On: 8/25/13 at 12:18 AM
#53
Posted: 8/25/13 at 12:23am
That damned bell was making me sea-sick. Just watching it sway back and forth, back and forth, back and forth all night.
"I know now that theatre saved my life." - Susan Stroman
#54
Posted: 8/25/13 at 12:24am
I thought Justin did very well to give Paris a distinct character. He has an expressive face which he used to good effect. I also agree with theatertrash about the balloon conceit. Christian Camargo is good as Mercutio and he could (should) steal the show as he settles in. I saw the original casting notice called for a David Bowie-type "masculine transvestite," which is not what he is, but his lean physicality works for the role.
#55
Posted: 8/25/13 at 12:26am
Weird casting call... But I like what they wound up with. That balloon moment really stuck with me. I thought it was powerful and witty at the same time. I would love for a lot more of that playfulness.
Okay. Really going to bed now. For real. Now. Night, all.
Okay. Really going to bed now. For real. Now. Night, all.
"I know now that theatre saved my life." - Susan Stroman
#56
Posted: 8/25/13 at 12:58am
Let's be honest, we all know the reason this is on Broadway. And there are PLENTY of people willing to shell out the $$$, judging by Instagram. This is of the stagedoor tonight for Bloom:
http://t.co/rvnkRYvHtc
http://t.co/rvnkRYvHtc
"Get mad, then get over it." - Colin Powell
#57
Posted: 8/25/13 at 1:07am
Damn, that crowd is HUGE. I really didn't think he was still that big of a draw!!!
#58
Posted: 8/25/13 at 1:11am
iluvtheatretrash: All right, already. You've cluttered up this board long enough. We know what you think, so LAY OFF!!!
BroadwayEd
#60
Posted: 8/25/13 at 1:42am
@Ed- whoa. I am glad that theatretrash shared info and opinions, some of which were in response to inquiries of others. It always helps me decide if I want to see a show by reading the comments and opinions of people as a show develops.
#61
Posted: 8/25/13 at 1:57am
Thrilled theatretrash shared info! Hope for even more. I've been dying to hear as much as possible. Sounds like there's chemistry between the leads. I was eager to hear about the death duel w/ Romeo and Paris, so I was disappointed it's cut. Knew Bloom had some Shakespeare background, but didn't know about Guarini, so I wanted more news about his Paris. What I've seen of him has intrigued me.
I think the kinks will be ironed out, some changes made. I love the idea, and hope to see it.
I think the kinks will be ironed out, some changes made. I love the idea, and hope to see it.
#62
Posted: 8/25/13 at 2:36am
why oh why do we have to see old plays on broadway that are boring to the modern audience. We want NEW plays on broadways or revivals with political social elements that a relevant.
#64
Posted: 8/25/13 at 4:27am
I know you're probably trolling MacKay but I do sympathise - particularly Shakespeare because it is not written in the same language we speak or read today. It makes for a frustrating experience.
Give me claws and a hunch, just away from this bunch.
#65
Posted: 8/25/13 at 5:26am
I am not I hate it we need great american plays its too rare to have an all american Tony nominations. We need to as a country have theatre education, have a national funding of new writers and song writers. ENOUGH IS ENOUGH
#66
Posted: 8/25/13 at 6:53am
Thanks, guys. Was just trying to answer your questions.
"I know now that theatre saved my life." - Susan Stroman
#67
Posted: 8/25/13 at 8:19am
Yeah, it's all too rare to have all-American Best Play nominees. It hasn't happened in over a year!
I'm still curious about this one, but I've always looked at it as the least-appealing to me of the Shakespeare quartet we have on Broadway this fall. Still, I love Condola and look forward to her Juliet, and glad to hear Mercutio is getting good notices. I've never seen a great Romeo & Juliet, and I suspect I still might not, but it's a play I honestly think has been underdone on Broadway. Still hope to see it, maybe later in the run, though.
I'm still curious about this one, but I've always looked at it as the least-appealing to me of the Shakespeare quartet we have on Broadway this fall. Still, I love Condola and look forward to her Juliet, and glad to hear Mercutio is getting good notices. I've never seen a great Romeo & Juliet, and I suspect I still might not, but it's a play I honestly think has been underdone on Broadway. Still hope to see it, maybe later in the run, though.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
#69
Posted: 8/25/13 at 9:12am
JustJared has some stage door photos:
http://www.justjared.com/2013/08/25/orlando-bloom-greets-romeo-juliet-fans-in-sheer-shirt/
http://www.justjared.com/2013/08/25/orlando-bloom-greets-romeo-juliet-fans-in-sheer-shirt/
Coach Bob knew it all along: you've got to get obsessed and stay obsessed. You have to keep passing the open windows. (John Irving, The Hotel New Hampshire)
#70
Posted: 8/25/13 at 9:50am
By the time they open, I think they'll have the pacing mastered and will have discovered much. I should say that the Juliet balcony scene was quite effecting.
Leveaux and crew were sitting the row in front of me. Hope they read the audience well.
Leveaux and crew were sitting the row in front of me. Hope they read the audience well.
#71
Posted: 8/25/13 at 10:19am
This is directed by the same David Leveaux who directed ARCADIA without clearly understanding anything about it? Saints preserve us! Now I will see this, out of sheer curiosity.
#72
Posted: 8/25/13 at 10:36am
Oh, yes, the balcony scene was nice. But I think Romeo's confrontation with Friar Lawrence was Bloom's strongest moment, personally.
"I know now that theatre saved my life." - Susan Stroman
#73
Posted: 8/25/13 at 11:41am
This theater seems to be a horrible space for plays. "Cat" with ScarJo was almost impossible to understand. I'm not sure how I'd feel about having to strain to hear Shakespeare.
#74
Posted: 8/25/13 at 11:48am
I didn't know Brent Carver was in this. Good to have him back on the boards.
I know you.
I know you.
I know you.
#75
Posted: 8/25/13 at 11:49am
Funny, that theatre worked just fine for the original Fences. And the Rickman/Duncan Private Lives. And Lost in Yonkers.
Begin at the beginning and go on till you come to the end: then stop.
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