The new Broadway production of Shakespeare’s “Romeo and Juliet” (here retitled “Romeo + Juliet,” as with Baz Luhrmann’s 1996 Hollywood remake) starring Kit Connor and Rachel Zegler as the star-crossed lovers, channels a Gen Z youth sensibility and dance club aesthetic that transform the play into a communal, intimate, DIY-style gathering.
Before the play officially begins, the actors congregate onstage on a circular platform, apparently just chilling and hanging out in street attire. They then break the fourth wall to welcome the audience, introduce themselves, and perform a group cheer/warm-up exercise before finally breaking into character. This sets the tone for an immersive, in-the-round production where the actors engage fully with the space, sometimes appearing next to audience members and in the aisles. It gives the sense that a group of close friends has come together to perform the play for fun.
And did I mention the teddy bears? Both the lobby and auditorium are filled with teddy bears wearing shirts that say, “the youth are f*cked.” At one point during the show, Romeo consoles himself by hugging a giant teddy; later on, the apothecary rips open its stuffing to reveal where he hides his banned substances. Audience members can also try to win a souvenir teddy bear from a claw machine for a dollar per try.
As directed by Sam Gold (whose starry Shakespeare productions have tended to be scaled-down, experimental, and often perplexing), the first half of the production has a relaxed, celebratory vibe, with Zegler even breaking into a high-powered pop song at the Capulets’ ball. However, the production style is less suited to the second half of the play as the deaths multiply and the action intensifies. By then, a live keyboardist plays sustained chords, trying to instill a sense of unease, and the actors lie aimlessly around the stage.
The cast is small, relying on lots of double and triple casting in a gender-fluid manner. For instance, Gabby Beans plays Romeo’s silly buddy Mercutio, the stern Prince (who here doubles as the club host, with a hand mic to convey authority), and Friar Lawrence. Likewise, Tommy Dorfman plays both Juliet’s Nurse and cousin Tybalt (a neat touch given that the Nurse later mourns the death of Tybalt). This casting scheme works surprisingly well under this openly informal aesthetic.
A highlight of the production is a reimagined balcony scene, where Romeo wanders through the theater aisles on his way to Juliet, who performs from a suspended bed hanging on wires above the stage. Romeo borrows the chair of an audience member to reach up to Juliet and finally performs a pull-up to share a kiss with her. (Clearly, this Romeo spends time at the gym.)
The female characters in this retelling are strikingly assertive. Zegler’s Juliet exudes self-assurance and agency, a break from more passive interpretations of the character, while Tommy Dorfman’s Nurse has a sassy attitude. On the other hand, Connor’s Romeo is earnest and fragile.
So far, the production has been performing well at the box office and attracting a young crowd, likely due to the appeal of Zegler (best known for leading the film remake of “West Side Story” as Maria, a character based on Juliet) and Connor (the 20-year-old English actor on the Netflix series “Heartstopper”) rather than renewed interest in the play. Or perhaps word has gotten out about the teddy bears.
On opening night, the actors wore pins calling for a ceasefire in Gaza. (Zegler has previously spoken out on social media about her support for Palestine.) However, the production itself contains no overt political stances, though it reflects a gathering of progressive-minded youths grappling with a world of discord and instability. To quote the teddy bear, “the youth are f*cked.”
Circle in the Square Theatre, 235 West 50th St., romeoandjulietnyc.com. Through Feb. 16.
