Theater review by Elizabeth Warnimont
Special to The Herald

CALIFORNIA SHAKESPEARE THEATER CONTINUES its 2013 summer season with “Romeo and Juliet,” the classic tale of two young innocents who fall in love despite belonging to enemy clans, at the Bruns Amphitheater in Orinda through July 28.

Director Shana Cooper brings the story into the present day, casting the two leads as 21st-century teenage personalities, though they are still bound by the social norms of Shakespeare’s 16th-century England.

Romeo (Dan Clegg) and his friends behave like modern American college students, alternately rankling and encouraging each other, drinking, fighting foes or waxing philosophic — but they verbalize it all in the archaic, florid Renaissance tongue of the Bard.

Cooper retains much of Shakespeare’s original dialogue in the production, which continues to thrill established Shakespeare fans: “But soft, what light through yonder window breaks? It is the east, and Juliet is the sun.” (OK, if you don’t remember that one, how about “Romeo, Romeo! Wherefore art thou, Romeo?” That’s in there, too.) The actors do such a fine job of delivering the difficult lines, though, that much of the action can be understood by context alone. Where lines are altered, they remain in the original linguistic style, bending just enough to allow unstudied audiences to follow along without much trouble.

Rebekah Brockman is Juliet, a child-like 13-year-old who still sees marriage only as a mysterious social institution — until she meets her Romeo. Romeo’s immaturity, on the other hand, is seen not in his ignorance of sexuality but in his flightiness, as he falls hard in and out of what he feels is love — before meeting Juliet.

In Juliet, Brockman creates a character that feels so familiar, it’s as if one is watching a real-life teenager. Brockman conveys Juliet’s feelings beautifully: the girlish impulses of obedience and bewilderment toward her parents (Dan Hiatt and Arwen Anderson as Lord and Lady Capulet), her desperate need for compassion and sympathy from her mentor (Dominique Lozano as “Nurse”), the thrill of her first love, and her devastation when the object of her heart’s desire is taken away. If Juliet was the core of Shakespeare’s vision for the play, then Cal Shakes has done the Bard perfect justice, presenting a lovely young girl who reluctantly emerges and then rejoices in the splendor of romantic love.

All of the seven actors who make up the Cal Shakes cast are members of Actors’ Equity Association. Most play multiple roles but fortunately, Romeo and Juliet themselves are exempt from that task, because some of the character transitions are confusing to follow.

Some role changes proceed without distraction. Lozano’s characters, for example, are easy to track as she changes from the frumpy gown of Juliet’s nursemaid into the royal garb of the prince. On the other hand, Nick Gabriel’s transformations are less obvious, as he may appear in the same skirted tunic whether portraying Tybalt, Paris or another ensemble member. Overall, the story flows smoothly anyway, because it’s the events that are key. Character development may be essential in the persons of Romeo and Juliet, but while the remaining characters play important parts, their personal transformations are left more to the imagination.

The company’s open-air stage contains only occasional props. The play’s action is simply staged against the natural backdrop of the Berkeley hills. Since much of the interaction between characters is physical and fluid, whether dancing, fighting, playing or even idly passing time, the eye has plenty to occupy it without the complement of artificial scenery.

Careful choreography adds a tremendous energy to both the story and the individual personalities. Movement director Erika Chong Shuch lends a surreal mood to the stage with quick, intermittent dance scenes, energized by accompanying electronic music and sound effects (Paul James Prendergast).

Cooper’s interpretation of the classic tragedy is fun to watch, and Shakespeare aficionados and novices alike will enjoy the performance. The characters are recognizable, charming and vibrant — though some who are very familiar with the play might miss the deeper sense of tragedy that comes through in more traditional productions. Cooper captures the teenage perspective beautifully, even while the production treads lightly around the kind of terrible sadness that can bring teens of any century to that point of deep and hopeless despair where these lovers both end up.

Cal Shakes’ “Romeo and Juliet” is youthful, vibrant and relevant. The players succeed in creating realistic characters who talk like Shakespeare but feel like modern day people. The high caliber of acting is matched with nicely crafted movement and sound.

The production may lack the intensely dramatic feel of other popular productions, but it delivers rich characters and brings the story of these ill-fated lovers well into the 21st century and should delight all comers.

If You Go
“Romeo and Juliet” continues at the Bruns Amphitheater in Orinda through July 28. Tickets are $20 to $72 and are available by calling 510-548-9666 or online at calshakes.org.

Elizabeth Warnimont is a freelance writer specializing in the performing arts. She is also a substitute teacher for the Benicia Unified School District.