Juliet is fire, Romeo got mad rizz in this Shakespearean glowup

The last time I reviewed a Shakespeare play directed by the brave and gifted Sam Gold, I began with a cheeky question about the bowls of soup the ensemble was slurping Macbeth (his invention). I won’t repeat myself by questioning the numerous fluffy pink teddy bears that show up at Gold’s Romeo + Julieta fast-paced, pop musical interpretation of the summer brat lover’s tragedy. Whatever the case, these bear plushies don’t need any elaborate interpretation: they’re fluffy symbols of childhood that the teenage characters cling to even as they get caught up in a whirlwind of sex and violence.

The stuffed animals spill out of an overturned shopping cart in the middle of the stage in the scenic environment created by the brilliant collective dots. There is an inflatable pink plastic chair nearby. Later, the top of the round playroom folds up to reveal a field full of bright flowers. Enveloped by Isabella Byrd’s throbbing mauve, red and blue lights and accompanied by an on-stage DJ’s EDM beats (music by hitmaker Jack Antonoff), Circle in the Square becomes a warehouse rave. On a raised platform to one side stands another (giant) teddy bear – its upper body serves as a hiding place for contraband that Romeo purchased in a fateful scene. Enver Chakartash’s costumes range from sparkly tracksuits to fashionable streetwear. The characters are steamy, the gender is fluid, the desire is bi, and death is assured. Even if the story ends in tears, there is always time for a dance break or karaoke as Juliet serenades the guests at a Capulet party with lyrics that would never have been dreamed of in Shakespeare’s philosophy. “All chance / One night / One way to heaven, don’t be late, hey.” And a hey-nonny-non to you, J-Cap.

Played by English TV star Kit Connor (Heart stopper) Romeo has a baby face and is swollen. He’s wearing a see-through mesh tank top that shows off a sporty, hairless body (yes, he’s Kenough). As Julia, Rachel Zegler cuts a petite, feminine figure in various skirts, crop tops and mom jeans. The 23-year-old actress played Julia’s descendant Maria in Steven Spielberg’s film West Side StoryBut it reads younger, which reminds us that Julia is not yet 14 years old. Even Shakespeare, fully aware of the ruthless standards of early modern England, admits that the girl is too young to be married and bear children. (Republicans can agree to disagree.)

Connor is a bit of a puppy and Zegler is a wiry ferret. The casting emphasizes one aspect of Romeo and Juliet what the text more or less supports: Romeo as a jerk and Juliet as a nerd girl with an overactive imagination. Of course, in Shakespeare everyone is hyperpoetic when they need to be, but as tragedy unfolds, Romeo tends to act before he thinks, and Juliet can allow thought to get in the way of action. In any case, the production of gold is driven by no other concept than the youthquake atmosphere: they are children, and the evil world eats the young. The hyperpop frame is Gen Z by way of Baz Luhrmann, who, let’s face it, left an indelible mark on these horny, messed-up teenagers 28 years ago. You all know the clergy.

Zoomer window dressing aside, Gold engages in a thoughtful and amusing double casting. Sola Fadiran plays both Capulet and Lady Capulet, deftly distinguishing between male and female without exaggerating gender stereotypes. Capulet’s angry tirade against the stubborn Juliet is particularly frightening. The absolutely electrifying Tommy Dorfman is a study in contrasts as Juliet’s goofy, chatty nurse and stone-cold killer Tybalt. Gían Pérez takes on various clown roles, such as the stupid Paris and the idiotic Peter. The always stunning Gabby Beans plays both Mercutio and Friar Lawrence with enormous panache and humor. Both characters believe they know what is best for Romeo, but ultimately accelerate his self-destruction. Beans’ Mercutio is a sour stoner who constantly fluctuates in shades, while the Monk is a gentle, optimistic soul. She juggles a third character who speaks chorus lines and delivers angry edicts from the Duke of Verona. The first act ends with a bloody brawl on a flower bed, an alarming mix of brutality and romance. Choreographer Sonya Tayeh brings her signature blend of muscularity and dedication to the movement. In the final scene (perhaps a little rushed so that Gold could more or less keep the action in two hours) Romeo and Juliet die straddling each other. Their cross-shaped arrangement mirrors the giant LED crucifix on the wall behind the DJ. A nice tableau, but nothing particularly profound. The same could be said of other directorial flourishes, but they are easily overlooked because the language is well delivered and the ensemble is engaging. It’s the least boring or frightening Shakespeare I’ve seen in a long time.

I look back at him Hamlet, Othello, Lear, MacbethI would say that Gold has a mixed track record when it comes to major tragedies (careful, Titus!). I will remember this fondly. Instead of leaving with questions, I left the seminar with new jargon. Capulet carries a plastic jug filled with red liquid. In his last, desperate act, Romeo washes down the poison powder by drinking from the jar in question. The article in question is called a BORG– this is Black Out Rage Gallon – a drinking hack popular on college campuses. So when you notice middle-aged theater critics casually mentioning BORGs, you know where they get it from. Knowledge is power, kids.

Romeo + Juliet | 2 hours 25 minutes. One break. | Circle in the Square Theater | 1633 Broadway | 212-239-6200 | Buy tickets here