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+ Music is contemporary – in pre-show and within – often with a beat. Most noticeable is the dance in the Capulet festivity. It comes off as a raucous collegiate party erupting in dance fun versus a formal ball. Some scenes are dressed aurally, as when Juliet is about to partake of the sleeping potion to an eerie sound.
+ Juliet’s balcony is structural metal scaffolding, wheeled in and out. Two benches painted white serve as such set pieces as a bed and the top of a crypt.
+ The players take control of the material. Bailee Harper and Haley Ebinal unleash power, singly or as a team as Romeo and Juliet. Their balcony scene ebbs and flows with color, spice and romance. Excellent. Teresa Aportela Sergott is full of comic/tragic nuance as the Nurse, particularly in a scene in which her aches, pains and breathlessness takes precedence over Juliet’s eager need for news. Brian Bailey packs explosiveness, especially when Lord Capulet is defied by Juliet. Rachel Ziolkowskisurly maneuvers the dilemmas of the well-meaning Friar. When Mercutio dies, Emily Holland unleashes a rolling monologue of surprise, agony, grave humor, anger, resolve and more “a plague on both your houses” anger. Four hundred some years after Mercutio’s first death comes an urge to weep for Mercutio.
+ The fight scenes generate excitement with big action. In-person physicality with waving blades catches attention.
+ The players wear wireless headsets. Early feedback Saturday afternoon was soon tempered, with the volume controlled or maybe turned off in the contained performance space.
+ In spoken pre-show director’s notes Saturday, Carolyn Silverberg noted Shakespeare likely wrote “Romeo and Juliet” when in “lockdown” for 14 months of bubonic plague. The comparison with the COVID-19 pandemic is another way Shakespeare keeps on giving.
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+ This production proves again Green Bay has a Shakespeare company.
THE VENUE: Studio B of The ARTgarage at 1429 Main St. In Green Bay is one of the converted sections of a canning factory. The performance space is set amidst concrete pillars, bricks, open ceiling with exposed wood and utilities and a polished concrete floor. The spartan setup is in keeping with the William Shakespeare phrase, “All the world’s a stage.” For “Romeo and Juliet,” sound baffles are hung in a central square in the ceiling, dressed in a string of lights. Sets of large white walls separate the audience from “backstage,” though not entirely. A thick fabric curtain covers a window at the rear of the performance area. The look of the space befits the bare-wall visual character of the production.
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