Theater Online - New York Theater Reviews

Time: The Present; Place: New York City; Theater: a converted squash court in Harlem's Riverbank State Park; The Set: several platforms, scaffolding, a ladder and two basketball hoops; The Cast: multi-ethnic and multi-generational (neighborhood kids and seasoned) actors; The Story: the tragedy of "a pair of star-crossed lovers"; The Play: Pulse Ensemble's engaging and often exhilarating outdoor presentation of "Romeo and Juliet."

From the on start, this production of the classic tragedy seeks to reflect an urban atmosphere. The Prologue is delivered by three news reporters and is soon followed by a confrontation of Montagues and Capulets, dressed age-appropriately in urban styles, predominantly comprised of shades of blue and red, respectively. But realistic costumes and the inner-city settings are not the only elements that transport this ancient tale to our backyards. The words, faithfully and meaningfully delivered by the entire ensemble, are Shakespeare's; nevertheless, a good deal of the accompanying body language, choreography and fight sequences belongs to the 21st century inner-city.

Of course, at the center of this tale of woe are two fateful lovers. Young and pretty Li Jun Li portrays a "good girl" (but hardly naïve) Juliet and captures the essence of a teenager who is rapturously in love but also faces ponderous decisions. John G. Williams's Romeo is "one of the boys" and possesses physicality very connected to his emotions. Although he didn't seem quite believably love-lost before meeting Juliet, after their initial encounter he does a fine job of reaching depths of happiness, anger and grief. Together the chemistry of the two actors gels, as it seems they can hardly keep their hands off of each other when together.

The characters who revolve around and often cause the tragic vortex are also engaging. Gwendolyn Schwinke (a not-so-buxom Nurse), Bill Galarno (a very likeable Friar) and Brian Richardson (Capulet with a West Indian accent) give often witty and well-balanced performances. Uzo Aduba as Mercutio has an appealing and powerful presence. Erwin Falcon's Tybalt is so scary in his rage that it was frightening. Melinda Stewart (Lady Capulet) and Carol London (Lady Montague) do fine jobs as the moms, but their prolonged mournful crying in the later stages of the play becomes a little much.

Director Alexa Kelly's "urbanization" is smooth and-for the most part-works well. A few of my favorite "touches" are a line dance at the Capulet's ball, fight scenes being infused with hip hop moves and Friar's little folding bicycle. But several sound effects-particularly the recurring "Law and Order" scene introduction coda, sirens, thunder and doors closing-become tiresome and distracting. Another thing that might detract from one's overall appreciation (and there is a good deal to be appreciated here) is that although press material indicates it will be a 90 minute production without intermission, the performance I attended was over two hours.

"Romeo and Juliet," being presented just a short walk from the 137th Broadway train station, is an almost not-to-be-missed Big Apple experience that can be savored until August 27th.