Review: ‘Juliet and Romeo’ enjoys fresh twist on classic

Jay Geller is an inventive and innovative director. I know because I’ve worked with him, and seen practically every show he’s done at McHenry County College’s Black Box Theatre. His 50th show and current production, “Juliet and Romeo” (and yes, that is the correct title), runs until March 19.

This time though, I thought he might have gone too far – he’s adapted “Romeo and Juliet” – why mess with Shakespeare’s most popular performed classic? Geller states, “The idea to reverse the role of Romeo and Juliet and to essentially transform Verona from a patriarchy into a matriarchy arose out of a discussion on the modern context in which many of Shakespeare’s plays have been couched, including gender fluidity. Given the MeToo movement of the last few years, it felt almost instinctive to center Juliet in the dominating role.” Geller worked on the adaptation with Ted Hazelgrove, who also teaches a Shakespearean course at MCC, and served as dramaturg for the production.

So, does it work? In a word, yes, and the audience enthusiastically comes along for the ride in short order. The ensemble of 16 (with many appearing for the first time at the Black Box) hails from Cary, Crystal Lake, McHenry, Harvard, Richmond and Johnsburg. All are quite amazing in their capacity to speak Shakespearean vernacular flawlessly and effortlessly. This ensemble is definitely up for the challenge.

And don’t worry, the plot is still there. There’s still a balcony scene, that infamous tomb scene and plenty of duels (thank you, fight coordinator Bill Daniel), but do be prepared for some unexpected twists and humor. Now, it’s the story of Juliet Montague and her failed and tragic romance with Romeo Capulet, with a focus on the age-old vendetta between the two families led by Lady Montague and Lady Capulet with overseen authority by Princess Escalus in 20th century Verona.

Eric Luchen cleverly adapted the set of the previous show, “Heathers.” It’s simple and utilitarian, and works well dividing the Capulets and Montagues. Carol Foreman’s costumes are comfortably nondescript: vests, jeans, long-sleeve sweatshirts and boots. The Capulets are in red, the Montagues in black, easily identifiable. Maxwell Robey’s lighting is subtle and appropriate – just the right touch.

Isabella Aguilar is a femininely decisive Juliet. As an actress, Aguilar is emotive, poignant and consistent in every scene. She’s radiant and mesmerizing; the show rests on her capable shoulders. She has chemistry with everyone from Romeo to Mercutia.

Nathan Bodecker’s Romeo is wholesome, eager and charming. He falls under Aguilar’s spell quite easily.

Not surprisingly, there are several other standouts in this ensemble. Monica Hauschild is the perfect execution of a “savvy woman who loves to hear herself talk” as Mercutia. She’s funny, expressive and definitely physical. Another dazzler is Maggie Liston’s Benvolia. She is tall, elegant, facially expressive, and portrays that devotion to her cousin with credibility. The chemistry between Aguilar, Liston and Hauschild in so many scenes is buoyant.

In supportive roles are two very distinctive and strong actors. Tracey Lanman, a well-known area actress, is Friar Lawrence. Her diction is clear; she possesses a great sense of character, and, at all times, portrays a stalwart and comforting counselor. Skye Schoen is the nurse, and his distinctive voice and sincere gawkiness in portraying the aging, bad-back-aching-bones purveyor of news good and bad is a delight.

Emma Himley’s Princess Escalus is the upstanding Verona authority figure, and gets to deliver the infamous “story of woe” closing speech; Torie Mertens’ Lady Capulet may be a one-note, fire-breathing, arrogant, haughty, domineering character, but, boy, does she deliver. Anastasia Correra’s Tybalt, and Addie Keller’s Paris possess dramatic instincts of opposite natures.

Recognition also must be given to Greg Waldyn (Capulet), Erin Liston (Lady Montague), Trinity Anderson (Abra and Apothecary), Angel Zuhlke (Samantha and Friar Joan), Olivia Greenwald (Gretchen) and Cody Klimek (Balthasar).

Stephen Sondheim famously stated, “What keeps theater alive is the chance to always do it differently, with not only fresh casts, but fresh viewpoints.” It even appears to work with blank verse and iambic pentameter.

(Contains moments of violence and the subject of suicide.)

• Regina Belt-Daniels believes in the power of theater to educate as well as to entertain. Since the first grade, she has been in love with the theater, appearing on stage and backstage in many capacities ranging from performer to director. She recently was the recipient of the Chicago Travolta Heartstring Award, and was a nominee for BroadwayWorld Regional Best Director for her work with ETC’s “I Hate Hamlet.”

IF YOU GO

WHAT: “Juliet and Romeo”

WHERE: Black Box Theatre at McHenry County College, 8900 Route 14, Crystal Lake

WHEN: 7 p.m. March 10, 11, 17 and 18, 2 p.m. March 12 and 19

COST: $15 for general public, $10 for students, MCC employees and alumni, seniors, veterans

INFORMATION: Reserve seats at 815-455-8746, jgeller@mchenry.edu