Movement brings new “Romeo and Juliet” to ART

In high school, a popular, book-loving teacher introduced me and the other students in her class to the classics of literature. Although her efforts to pique our interest were unsuccessful, I read The Odyssey, The Epic of Gilgamesh, which I loved, 1984, and, of course, works by William Shakespeare. The language of Shakespeare's time made the works presented in class seem too wordy and difficult to understand for me, an uninterested teenager.

But recently, Shakespeare's words were brought to life in a different way in the American Repertory Theater's production of “Romeo and Juliet”: a visually and physically impressive performance made more relatable through movement, emphasis and embodiment, running now through October 6.

Diane Paulus, ART's artistic director, sensitively guided the all-star cast through this tragic and cautionary tale of two young lovers caught in the crossfire of an old grudge between their families.

Rudy Pankow is a poignant Romeo and Emilia Suárez a strong Juliet. It was a pleasure to see the duo – both great actors – on stage. A number of other actors also make the show exciting and believable: Mercutio, a multi-talented clay singer with a knack for accents and physical comedy; Sharon Catherine Brown is an excellent and loving nurse; and Terence Archie, a powerful Lord Capulet who makes my seatmate gasp with palpable and cutting anger at Juliet's decision not to marry the suitor of his choice.

The production is made even more visually appealing and accessible by movement director and choreographer Sidi Larbi Cherkaoui. The actors truly embodied their roles, using their whole bodies to convey emotion. For example, Mercutio's sometimes daring lines were enhanced by movement, and at the beginning of the second act, Juliet's restlessness is palpable in a scene beautifully lit by Jen Schriever, in which Juliet writhes and seems to circle through the air almost with the grace of a ballet dancer.

The creative team worked together to seamlessly move the action from one location to another as the story progressed. The set, designed by Amy Rubin, was made up mostly of wooden structures; one was a wall and window for Juliet's musings and secret conversations with Romeo, which doubled as entrances to other rooms, and others were boxes that served as beds and benches depending on the scene.

Props such as spherical lights carried by the actors illuminated rooms and acted as the sun and moon. Original music by Alexandre Dai Castaing and the sound of a pounding heartbeat (by sound designer Daniel Lundberg) heard when Romeo and Juliet meet added great drama. Even the fight scenes by Thomas Schall were quite good, the violent actions between feuding family members were well choreographed, with audible sounds that made the blows thrown and landed and the depiction of fatal wounds seem more authentic.

Costume designer Emilio Sosa's outfits for the women in the show (and some of the men's suits) were particularly elaborate. Juliet's pink ruffled dress, Lady Capulet's pleated and flowing suits – just right for her social class – and the Nurse's satin-like skirt the color of a rainstorm stood out.