Images courtesy of Sydney Jones ’28.
“Romeo + Juliet,” the latest and 37th rendition of Shakespeare’s classic tragedy to be brought to the Broadway stage, is an adaptation that is certainly no fool of fortune. The production, directed by Sam Gold, stars Rachel Zegler and Kit Connor in their Broadway debuts as the titular star-crossed lovers. The play reimagines its source-material using a youthful, genuine sense of humor while its staging and choreography (by Sonya Tayeh) create an immersive experience that could only exist at such a unique venue as The Circle in the Square Theatre.
Upon passing through the revolving glass doors of the theater, which sit underneath bright pink and yellow signs with the names of the stars and an awning of marquee lights, audience members descend via escalator into a neon, teddy bear embellished world where ambient music inspired by the show’s soundtrack bounces through a packed lobby. Created by acclaimed producer Jack Antonoff, the show’s sound design is upbeat and electronic; reminiscent of recent pop culture phenomena, like the score from “Challengers” (2024) and Charli XCX’s “Brat,” whose song “360” can be heard among the club-inspired playlist put on just before the doors open and the audience find their seats. Once inside, there is a small “pre-show,” in which the cast can be seen playing cards, eating gummy bears, playing hacky-sack to the music and lounging on stage before the lights dim and the show begins. For the duration of the show itself, Antonoff’s soundtrack is played live by a keyboardist perched on the far side of the theater to match the beats and emotions of the actors’ dialogue, which is recounted in the original iambic pentameter. At one point, the keyboardist even delivered a few lines to decline a staged request from Gían Pérez (Samson/Paris/Peter) to play the song “We Are Young” from Antonoff’s former band, “Fun.”
In both the show’s staging and the self-aware tone through which the actors reimagine the execution of its well-known lines, there is very little barrier separating the characters and the audience. Gabby Beans (Mercutio/The Friar) delivers the play’s quintessential opening narration, inviting the audience to be engaged onlookers not just to scenes of “fair Verona” but to the performances of the young cast as they bring age-old lines into the modern world of the theatre-in-the-round. The characters leap through the aisles and address audience members, with Romeo (Connor) delivering his iconic balcony monologue while leaning against the rails of the standing-only section and dangling from the levitating bed that acts as Juliet’s bedroom. Beans makes her first character transition after her time as the narrator by announcing “I’m The Friar now” in one of the more abrupt examples of how the actors switch between their two or three characters. In this way, not only is the talent and dynamic energy of the whole cast put on full display in their physical and emotional transitions between scenes, but there is also a certain humorous yet genuine self-awareness in the show acknowledging itself as an adaptation intended for a new generation. It is executed by a young cast and caters to a young, excited set of viewers— staying true to Shakespeare’s somewhat ironic, irreverent tone but amplified for a modern (specifically Gen Z) audience.
The Circle in the Square Theatre is also a fitting setting for the show’s dynamism and creates a true sense of immersion. For example, after Romeo and Juliet first meet at the Capulet party and realize themselves to be members of opposing households, the surface of one-half of the round stage splits and flips like the page of a book, hinging to create a 90 degree angle before resting parallel on the other side. As it slowly folds, their figures are left shadowed and searching to catch a glimpse of each other across opposite sides of the semi-circular wall, literally representing the story forces pushing the star-crossed lovers apart. Once the stage lies flat again, the new surface is revealed to be covered in a carpet of flowers. The now sunken-half of the stage later doubles as The Friar’s garden, the setting for the death of Mercutio (during which Beans delivers an amazing, emotional performance), and the springboard for Romeo’s “pull-up” to Juliet’s balcony.
As for Connor and Zegler’s performances, I would say they certainly live up to the hype of their movie and TV fame, coming from roles like Connor’s Nick Nelson in Heartstopper and Zegler’s Maria in West Side Story (2021) and Lucy Gray-Baird in The Ballad of Songbirds and Snakes (2023). From the time they spend perched on top of the two tunnel stage entrances in the first act, to their chemistry in the Capulet party scene and their final words to each other as they lay dying in the Capulet tomb, there is no denying that they are both supremely talented actors. Connor brought a new life to his character—as cliché as it might sound—in his balcony monologue, where you could hear his character’s internal struggle and endearingly naive smittenness in the classic lines used to ask advice from the audience and build up his confidence to address his love. During his visit to the apothecary, you can see the dramatic tone drop in his eyes as the story advances down its tragic path.
His co-star, Zegler, has a voice made for Broadway. Although the show is not technically a musical, at the end of act one she performs the original song “Man of the House” on a darkened stage with only a handheld mic and a spotlight. It is as if her character is performing alone in her bedroom, or in front of a mirror, in a brand-new dramatic monologue that adds another dimension to her character not seen in Shakespeare’s original version or any other of the many adaptations. Having been familiar with her performing talent from previous roles, it was special to see her deliver such raw emotion in person using just her voice.
The supporting cast is just as incredible—including Tommy Dorfman as The Nurse/Tybalt, Sola Fadiran as Capulet/Lady Capulet and Taheen Modak as Benvolio. Many of these actors split their time between characters who are moreso foils for each other than similar, and the contrast in their performances from scene to scene only emphasizes their talent.
Though “Romeo + Juliet” would certainly make a 16th century Elizabethan child die of culture shock with its over-the-top costumes, endless innuendo and Paris’ choice of vape, it would not be before they let out a good cry and a little giggle on the way to their grave. I want to bottle up the feeling of joy I experienced during this show and carry it around in the “borg” bottle of Lord Capulet and Romeo’s final toast, because this is my new favorite take on Shakespeare’s tragic tale of fate.