The Masque Of Night – New Place Players’ Captivating Version of Romeo and Juliet

The New Place Players, the innovative actors-and-musicians ensemble that performs Shakespeare with music and without a fourth wall, presented a condensed version of Shakespeare’s Romeo and Juliet. Brilliantly directed by Craig Bacon and Janina Picard, the performance focused on the main scenes between the two protagonists, interspersed with modern-day songs, including “Heroes” by David Bowie. The stage was the appealing, eclectically decorated room at Casa Clara, a former sculpture foundry, now an intimate performing space where the separation between performers and audience gets obliterated. The action unfolded between Romeo and Juliet, with music director Flavio Gaete and harp player Anna Bikales speaking a few lines as some of the supporting roles.

As Romeo, Maximilian Macdonald cut a dashing, ardent figure. In crisp diction, nuanced and impassioned delivery, impetuousness and nobility in movement he created a fiery, loving Romeo. Libby Lindsey’s Juliet conveyed both grace and strength as she developed her character’s range of expression from bubbly romantic sweetness to the bold resolve intensely articulated in her monologue before taking Friar Lawrence’s potion. What was most touching about both actors’ interpretation was the element of uncontainable joy that they passed back and forth to each other amplifying their playful youthfulness. At times, it’s tempting to get wrapped up in the sacred aura of Shakespearean language, forgetting how young these characters are and portraying them with unnecessary gravitas. After all, Romeo and Juliet are teenagers, she is almost 14 and Romeo is thought to be around 16. While, at the time, more maturity was expected around those ages, it was refreshing to see a take on this young love born somewhere between childish playfulness and teenage infatuation. It made the tragic ending all the more poignant. 

Music director Flavio Gaete displayed impressive prowess on three instruments—piano, violin and guitar—while Kenji Golden proved a whiz with various musical interventions on bass, guitar, synthesizers, accompanied by Anna Bikales’ sensitive harp-playing. Packing the room and sipping on glasses of red and white wine offered by the house, the attentive audience visibly reacted to direct eye contact with the performers; Romeo often addressed random audience members during his various musings. 

 

Libby Lindsey as Juliet, Maximilian Macdonald as Romeo, Anna Bikales on harp

Between the aural and visual delight of watching the performance, the aesthetic of the room, the taste of wine, and the aromatherapeutic myrrh-like scent that subtly infused the air, this was a feast for the senses. For about an hour and fifteen minutes, the audience stepped into a mesmerizing realm where they could become intimately immersed in Shakespeare’s eternal love story, allowing the senses to be lulled into sweet infatuation and beauty. 

The only aspect that didn’t fully work was the abrupt transition from the young lovers’ joy at being married and spending the night together to the tragic unraveling of the plot. It just felt like the performance needed a few more theatrical elements in between the joy and the drama to land more effectively. Of course, that’s not easy to do when the focus is only on Romeo and Juliet, and the dynamics of the other characters plus the dramatic layers of the many cut scenes are missing. But for a few moments, until one settles fully into the tragic turn of events, there could be some narrative intervention to help advance the plot and shift the mood. Fortunately, the Romeo and Juliet story is instantly recognizable and it’s only natural to assume that everyone is familiar with it. But imagine someone who does not know it and has not yet been inclined to approach Shakespeare. This condensed, intimate performance is an opportunity to introduce this masterpiece in an appealing way. While the first, joyful part instantly grabs attention, the sudden shift into tragedy may seem somewhat random to a newcomer without some kind of transitional means. 

Still, for those who know and love the story, the production provided a lovely opportunity to remember that love, while also connecting it to the present via contemporary romantic and soulful musical expressions. It was a beautiful, tender, heartwarming show that could easily be taken on tour and should be offered to as many audiences as possible.

New Place Players
Casa Clara
218 East 25th Street

Top: Libby Lindsey as Juliet and Maximilian Macdonald as Romeo
Photos courtesy of New Place Players