HARTFORD STAGE'S ROMEO AND JULIET CELEBRATES AND MOURNS THE BEAUTY AND TRAGEDY OF LIFE AND DEATH
By Kiersten Bjork (April 25, 2025)
Shakespeare’s Romeo and Juliet, currently playing at Hartford Stage through May 18, is a beautiful production that not only boasts a strong cast, but is set within an absolutely stunning directorial and design concept. Hartford Stage’s production features direction by artistic director Melia Bensussen with support from assistant director Rebecca May Ristow and choreography by Dale A. Merrill. Fight director Ted Hewlett crafts the action-packed fight sequences, and the production is supported by work from intimacy coordinator Lillian Mae Ransijn. Bensussen has chosen to set Romeo and Juliet in a world inspired by mid-19th century Mexico with influences from both the catholic church and Día de los Muertos, and this decision allows the show to become a brilliant display of color and light. From set to costumes to lighting, the design work is a true highlight for this production, and when fused with the dynamic direction, chaotic sword fights, and vibrant character work, it’s a truly remarkable show that celebrates, honors, questions, and mourns both the beauty and tragedy of life and death.
Shakespeare’s Romeo and Juliet, currently playing at Hartford Stage through May 18, is a beautiful production that not only boasts a strong cast, but is set within an absolutely stunning directorial and design concept. Hartford Stage’s production features direction by artistic director Melia Bensussen with support from assistant director Rebecca May Ristow and choreography by Dale A. Merrill. Fight director Ted Hewlett crafts the action-packed fight sequences, and the production is supported by work from intimacy coordinator Lillian Mae Ransijn. Bensussen has chosen to set Romeo and Juliet in a world inspired by mid-19th century Mexico with influences from both the catholic church and Día de los Muertos, and this decision allows the show to become a brilliant display of color and light. From set to costumes to lighting, the design work is a true highlight for this production, and when fused with the dynamic direction, chaotic sword fights, and vibrant character work, it’s a truly remarkable show that celebrates, honors, questions, and mourns both the beauty and tragedy of life and death.
The company of Romeo and Juliet at Hartford Stage, April 2025 (T. Charles Erickson)
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Carmen Berkeley and Niall Cunningham in Romeo and Juliet at Hartford Stage, April 2025 (T. Charles Erickson)
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Romeo and Juliet tells the classic story of star-crossed lovers from two opposing families: the Montagues for Romeo and the Capulets for Juliet. Constantly reminded of their enmity for each other, when Romeo encounters Juliet at the Capulets’ party and the two fall instantly in love, they fear what could happen should their families discover their relationship, but choose to spurn the consequences because it is true love. The pair are married by their friend and confidant, Friar Laurence, with the help of Juliet’s Nurse, and all the while keep their love from their parents and friends. When a perceived slight against the Capulets results in the death of Romeo’s friend and kinsman of the Prince, Mercutio, as well as Juliet’s cousin, Tybalt, Romeo is forced to flee into exile, setting off a cataclysmic chain of events that ends with the tragic death of perhaps the most famous lovers in literature.
Annmarie Kelly and Carmen Berkeley in Romeo and Juliet at Hartford Stage, April 2025 (T. Charles Erickson)
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Carman Lacivita and Niall Cunningham in Romeo and Juliet at Hartford Stage, April 2025 (T. Charles Erickson)
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Much of the success of any production of Romeo and Juliet comes from the abilities of the two titular characters. Romeo is played by Niall Cunningham, while Carmen Berkeley portrays Juliet, and Hartford Stage has truly hit the nail on the head with these two. Cunningham and Berkeley infuse their roles with just the right amount of both youthful energy and passion as well as a pain beyond their years. Their spirited portrayals are both true to the text and easy to relate to in the modern day, connecting with the audience as they dance through life, sprinting toward love and, unknowingly, their untimely demise. Cunningham and Berkeley play off of each other well and likewise have wonderful onstage relationships with their respective scene partners. The moments between Juliet and her parents, or her and her nurse, and between Romeo and Friar Laurence, or Romeo and his cousin Benvolio and friend Mercutio, are all well played.
Madelyn Rothstein and Niall Cunningham in Romeo and Juliet at Hartford Stage, April 2025 (T. Charles Erickson)
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Eva Kaminsky and Gerardo Rodriguez in Romeo and Juliet at Hartford Stage, April 2025 (T. Charles Erickson)
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Some of my favorite scenes in the production were those involving the trio of Romeo, Benvolio, and Mercutio. The three exchange quips and jests with ease, adding a wonderful sense of humor to Shakespeare’s lines. Juan Arturo (fight captain) is a strong Benvolio, also lending his comedic chops to the trio, and delivers his material with a boyish charm while still maintaining the gravity of each scene. Likewise, Alejandra Escalante plays Mercutio with much gusto. Escalante skillfully breathes life into Mercutio’s lengthy monologues, particularly the Queen Mab section, taking us on the journey with strong physical choices. When Escalante faces off against Brandon Burditt (dance captain) as Tybalt, the ensuing fight is well-performed. Burditt brings the necessary bluster to Tybalt, grounding the character well in the anger taken from the perceived insult to his family from Romeo and his friends.
Romeo’s confidant, Friar Laurence, is embodied by Carman Lacivita. The Friar is at times soft, and at others, a passionate force to be reckoned with, and Lacivita does an excellent job of giving the character a layered portrayal. He becomes a sort of father figure to Romeo, and in time to Juliet, and the care with which Lacivita crafts the relationships between himself and the two young lovers is beautiful to watch. You can feel the love that Friar Laurence has for Romeo in the way that he both supports and chides him, and it’s heartbreaking to watch those final goodbyes between the Friar and the lovers before they each depart from him for the last time.
Romeo’s confidant, Friar Laurence, is embodied by Carman Lacivita. The Friar is at times soft, and at others, a passionate force to be reckoned with, and Lacivita does an excellent job of giving the character a layered portrayal. He becomes a sort of father figure to Romeo, and in time to Juliet, and the care with which Lacivita crafts the relationships between himself and the two young lovers is beautiful to watch. You can feel the love that Friar Laurence has for Romeo in the way that he both supports and chides him, and it’s heartbreaking to watch those final goodbyes between the Friar and the lovers before they each depart from him for the last time.
The company of Romeo and Juliet at Hartford Stage, April 2025 (T. Charles Erickson)
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Carmen Berkeley in Romeo and Juliet at Hartford Stage, April 2025 (T. Charles Erickson)
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Supporting Juliet is her Nurse, played by Annmarie Kelly. Kelly is very fun in this role, bringing out the humor with vocal and physical choices. Her relationship with Juliet is touching, and her interactions with Romeo, Mercutio, and Benvolio had the audience laughing.
The parents of Romeo and Juliet – Lord Montague, Lord Capulet, and Lady Capulet, played by Michael Samuel Kaplan, Gerardo Rodriguez, and Eva Kaminsky, respectively – are frustratingly unable to mend their ways and set aside their differences, and it is they who have built much of the system that ultimately dooms the young lovers. While we don’t see too much of Lord Montague, Kaplan does good work in the role, conveying the pride he has in his son, and then the utter anguish over his loss. Rodriguez and Kaminsky are likewise well-cast, and Kaminsky in particular is a standout in the production. Juliet’s parents, in thinking they will help rid her of her grief over the death of Tybalt, intend to marry her to Count Paris, and when Juliet refuses, the resulting anger and betrayal that Rodriguez and Kaminsky evoke is heartbreaking.
Opa Adeyemo portrays the noble Count Paris, the other suitor for Juliet’s hand, and is charming in the role. His Paris is sweet, though at times frustrating in his persistence, and the final moments of his life as he grieves for Juliet are touching. Paris is kinsman to Prince Escalus, the ruling Prince of Verona, who is played by Emily Bosco. Bosco commands the stage with a powerful voice and presence. Rounding out the company are Liliana Alva, Jeremy Parrott, Jason Pietroluongo, and Madelyn Rothstein in the ensemble. They support the action of the piece as messengers, apothecaries, servants, and more, and establish themselves well within the world of the show.
The parents of Romeo and Juliet – Lord Montague, Lord Capulet, and Lady Capulet, played by Michael Samuel Kaplan, Gerardo Rodriguez, and Eva Kaminsky, respectively – are frustratingly unable to mend their ways and set aside their differences, and it is they who have built much of the system that ultimately dooms the young lovers. While we don’t see too much of Lord Montague, Kaplan does good work in the role, conveying the pride he has in his son, and then the utter anguish over his loss. Rodriguez and Kaminsky are likewise well-cast, and Kaminsky in particular is a standout in the production. Juliet’s parents, in thinking they will help rid her of her grief over the death of Tybalt, intend to marry her to Count Paris, and when Juliet refuses, the resulting anger and betrayal that Rodriguez and Kaminsky evoke is heartbreaking.
Opa Adeyemo portrays the noble Count Paris, the other suitor for Juliet’s hand, and is charming in the role. His Paris is sweet, though at times frustrating in his persistence, and the final moments of his life as he grieves for Juliet are touching. Paris is kinsman to Prince Escalus, the ruling Prince of Verona, who is played by Emily Bosco. Bosco commands the stage with a powerful voice and presence. Rounding out the company are Liliana Alva, Jeremy Parrott, Jason Pietroluongo, and Madelyn Rothstein in the ensemble. They support the action of the piece as messengers, apothecaries, servants, and more, and establish themselves well within the world of the show.
Alejandra Escalante, Brandon Burditt, and the company of Romeo and Juliet at Hartford Stage, April 2025 (T. Charles Erickson)
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Carman Lacivita, Niall Cunningham, and Carmen Berkeley in Romeo and Juliet at Hartford Stage, April 2025 (T. Charles Erickson)
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Scenic design by Christopher and Justin Swader, with support from assistant scenic designer Ningning Yang, is stunning. From the moment you enter the theatre space, you are greeted by towering arches and truly mesmerizing designs painted across the floor, walls, and scenic elements of the stage. Though much of the space is open to allow for the action and fight choreography, different elements are set and struck to successfully evoke the smaller spaces, including Juliet’s bed for her bedroom, Friar Laurence’s cart for his cell, and more. The famous balcony is cleverly built into the stage left wall of the set and works well for the iconic moment.
Lighting designer Dan Kotlowitz paints with light and color, elevating the already wonderful set. The lights help to bring out the magic of the Día de los Muertos-inspired moments, washing the scenes in vibrant colors and stark shadows.
Sound design by Darron L West is solid and works well for the piece. The moments of sound and music are well balanced in the space.
Costumes by designer Fabian Fidel Aguilar with support from assistant costume designer Kyle Artone are gorgeous. The design on all fronts remains one of my favorite aspects of this production, and the costumes in particular are a huge factor. The colors, patterns, and styles of the garments are breathtaking. The pops of turquoises, oranges, yellows, pinks, and other vibrant colors, particularly in Juliet’s costumes, are incredibly eye-catching, and bring the piece fully into the desired world and setting. Wig, hair, and makeup design by Tommy Kurzman with support from assistant wig designer Heather Hardin is also incredibly well done, with Juliet and her mother Lady Capulet’s being particular standouts.
Lighting designer Dan Kotlowitz paints with light and color, elevating the already wonderful set. The lights help to bring out the magic of the Día de los Muertos-inspired moments, washing the scenes in vibrant colors and stark shadows.
Sound design by Darron L West is solid and works well for the piece. The moments of sound and music are well balanced in the space.
Costumes by designer Fabian Fidel Aguilar with support from assistant costume designer Kyle Artone are gorgeous. The design on all fronts remains one of my favorite aspects of this production, and the costumes in particular are a huge factor. The colors, patterns, and styles of the garments are breathtaking. The pops of turquoises, oranges, yellows, pinks, and other vibrant colors, particularly in Juliet’s costumes, are incredibly eye-catching, and bring the piece fully into the desired world and setting. Wig, hair, and makeup design by Tommy Kurzman with support from assistant wig designer Heather Hardin is also incredibly well done, with Juliet and her mother Lady Capulet’s being particular standouts.
Michael Samuel Kaplan, Gerardo Rodriguez, and the company of Romeo and Juliet at Hartford Stage, April 2025 (T. Charles Erickson)
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Juan Arturo and Alejandra Escalante in Romeo and Juliet at Hartford Stage, April 2025 (T. Charles Erickson)
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Romeo and Juliet is a story that has captivated audiences for hundreds of years, and Hartford Stage’s production once again reminds audiences why that is. The love, loss, joy, and pain are captured so viscerally, and through such a stunning lens, that it truly elevates the story. You won’t want to miss this production – catch Romeo and Juliet at Hartford Stage before it closes on May 18.
Romeo and Juliet plays April 17-May 18, 2025, at Hartford Stage in Hartford, CT. Learn more and purchase tickets at hartfordstage.org or by calling the Box Office at (860) 527-5151.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.
Romeo and Juliet plays April 17-May 18, 2025, at Hartford Stage in Hartford, CT. Learn more and purchase tickets at hartfordstage.org or by calling the Box Office at (860) 527-5151.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.