Recently, I visited New York City for the first time. Many of my friends were excited, asking questions about my itinerary. What could I possibly do in only two days in NYC? They assumed I was set to see the Empire State Building, Times Square, the Brooklyn Bridge, and other iconic NYC spots. Well, they were wrong.
My first trip to NYC was scheduled for one reason and one reason only: to see Romeo + Juliet on Broadway. I traveled with a musical theater-obsessed friend, stayed at our mutual friend’s apartment, and saw the 3 p.m. matinee on Sunday, Feb. 2 with the full cast. With Romeo + Juliet set to close on Feb. 16, let’s discuss what makes this version of the classic Shakespeare play so iconic.
Exclusive and High Profile
Announced officially on Instagram on April 16, 2024, Romeo + Juliet immediately gained traction for its two leads, Kit Connor as Romeo and Rachel Zegler as Juliet. Connor, an English actor, is best known for his role as Nick Nelson in Netflix’s Heartstopper, while Zegler played Maria in Steven Stielberg’s adaptation of West Side Story and Lucy Gray Baird in Hunger Games prequel, The Ballad of Songbird and Snakes (This might be a good time to mention that I did watch Ballad three times in theaters and music from the soundtrack made it on my 2023 Spotify Wrapped).
Romeo + Juliet was originally only meant to be on stage for just under three months, with the official opening on Oct. 24, 2024. Due to the high demand, the production extended the original timeline, adding four more weeks after its original Jan. 19 close.
I have no complaints. Because of this extension, my friend and I took it as a sign to book our tickets and go see the show.
Shakespeare for Those Who Hate Shakespeare
I’ve always been a Shakespeare fan. I actively volunteered to read the character Hamlet in my AP Literature class in high school, and 10 Things I Hate About You is one of my favorite movies because it is a great adaptation of The Taming of the Shrew. However, I can acknowledge that his work is not everyone’s cup of tea; Romeo + Juliet is a production with the power to change that very opinion.
Before seeing the show, I was intrigued by its unique marketing. It was alluded that this version would include electronic music, contemporary props, and trendy costumes. This was immediately verified: loud bass music played as people filled the theater, all eyes on the shopping cart of stuffed bears, the pool floaty, and a massive bag of gummy bears on the stage. Connor stands out in a mesh shirt (truly a sight to behold) while Zegler walks around in Doc Martens (my edgy queen). My friends and I quickly dubbed this production as “Gen Z Romeo and Juliet.”
Romeo + Juliet takes place in the Circle in the Square theater, known (ironically) for its circular stage surrounded by seats. Although on the smaller side compared to other Broadway venues, the actors use up the space, traveling between rows and even using the fly space to deliver their lines. This allows for actor-audience interaction, like the Capulet servant passing out party invitations to people in the front row. These factors create intimacy, minimizing the distance between the story and the audience.
Despite no changes to the original script, the actors make the words their own. Changes in tone and varying emphasis transform the delivery for a 21st-century audience. One truly memorable moment is the famous balcony scene. Connor (in a sparkly jumpsuit) wanders the crowd, never tearing his eyes away from Zegler as he waxes about his love, Juliet. He is particular, carefully choosing how to characterize Romeo. To be frank, Romeo is a simp in this scene.
Looking at the choices made for this adaptation, it becomes clear that the vision was to prove Shakespeare’s relevancy to a modern audience.
We Can’t Ignore the Controversy
Like anything else, Romeo + Juliet isn’t perfect. There are a few issues surrounding the show that need to be discussed.
Shakespeare wrote this story as a play. However, because of Zegler’s reputation as a singer, this adaptation was written to include an original song. Zegler sings “Man of the House” (written and produced by Jack Antonoff) at the end of Act One. The problem arises when Zegler can’t perform.
When Juliet’s understudy goes on, she doesn’t sing “Man of the House.” This has created backlash toward the production, as this implies that the song was only included for Zegler. There is no shortage of talented actors in NYC. Theatre fans were outraged at the concept of not allowing the understudy to perform “Zegler’s” song.
Another issue that resulted from the production was the treatment of Connor and Zegler. Because they aren’t traditional theater actors and have been in well-known films, fans have used this opportunity to get closer to them. Stage doors following the show have been packed to the extent that most Broadway shows can’t begin to imagine. I remember going outside to get a spot and was immediately overwhelmed by the swarm of people, all of them ready to fight for a signature on their Playbill.
People have gone as far as to leave the theater before the bows (a literal cardinal sin) just to get a good spot at the stage doors. For example, one girl in front of my friends and I launched herself out the door as soon as the show ended. This has generated controversy, as many believe that it is incredibly rude to leave a show before the cast gets an opportunity to do their bows.
Although I would have loved Connor and Zegler’s signatures on my Playbill, I was happy with my choice to stay behind and cheer on all of the actors (and not get run over in the process). Romeo + Juliet’s cast is extremely talented, and I wasn’t only there for the leads.
Stage doors with high-profile actors also increase the likelihood of fans following them home. Some fans just seem to forget that Connor and Zegler are humans, too, deserving of the same respect you would afford anyone else.
Controversies aside, Romeo + Juliet is an excellent adaptation, bringing a Shakespeare classic into the 21st century. This is a performance I won’t soon forget, and I wish more people could have the opportunity to see it. With the success and attention this production received, I hope writers and producers continue to make adaptations of classic theater for the modern audience!
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