Shakespeare's
Romeo and Juliet
Run Time: 120 minutes, 15 minute intermission
Accessible Seating: Available
Hearing Devices: Not available
Sensory Friendly Performance: Not available
Production Sound Level: Comfortable Volume
Noises or Visuals to Prepare for: Lightning sounds
It would be presumptuous of me to think that every member of the readership of the Dallas Theatre Journal has experienced the story of Romeo and Juliet in some capacity: the city of Verona is riddled in political division between two families, the Montagues and the Capulets, and the ruling family of the Prince (played with stern moral rigidity by Spencer Walsh) is left to moderate the two sides. The eponymous teenaged lovers, each from the other faction, are then subjugated to navigate the division placed upon by their elders to achieve their own ephemeral (often criticized as hormonally driven) happiness.
The production presented to us by Upright Theatre in Euless, TX, and directed by Megan Guerra and assistant directed by Natalie Shaw (of Dallas Theatre Journal fame!), with the aid of costumer Elizabeth Ross, presents a divisive world through color. The Capulets (and those of Capulet loyalty) are dressed in Red. The Montagues (and those of Montague loyalty) are dressed in blue. Moderating characters dress in purple (specifically the Prince, Paris, and R&J post-marriage—spoiler alert these teenagers get hitched!). It is in these colors we see the conflict shift back and forth, and we clearly see the classic story told of two youth making a tragic attempt at bringing two violent sides together in peace…and even the purple moderate party isn’t safe from the ramifications of violent division.
As the Year of Our Lord 2025 grinds forward, this story starts to feel too familiar.
Romeo (played by Salvador Elias) and Juliet (played by Piper Daniel) have beautiful chemistry. Daniel’sJuliet has an innocent longing about her with a purposeful defiance when talking to her mother and father. Her emotional life rings true in the scenes with her Romeo. Elias’ Romeo wants to live earnestly and on his own terms: hang with his buddies, drink absinthe, party, and fall in love. To wit: Elias spoke Shakespeare’s language simply, which was refreshing and clear. Their flirtation on the balcony was fun to watch. Their goodbye scene the dawn before Romeo’s banishment was lovely. And, together, the tomb scene between was absolutely heartbreaking.
Two other standout performances from the show were Mercutio, the blue-lipped cousin of the Prince played by Noelle Saul, and the Nurse, the saucy minx who raised Juliet played by Laura Lester. Both actresses owned the humor inherent in the script and related that humor with their scene partners.
Saul’s Mercutio was charismatic and gruff, playing foil to Romeo’s romantic lead. This production’s Mercutiohad a romantic (?) relationship with Benvolio, the slinky oscillator between Romeo and Mercutio played by Jason English. English and
Laura Lester’s Nurse bought into the romance that is Romeo and Juliet. She was a willing facilitator guiding Juliet down the path toward a fast marriage. Her Nurse was playful and goading, even among Lady Capulet(played with selfish dismissiveness by Whitney Morris). Lester pla
What strikes me most about the play Romeo and Juliet, is that the play offers that harmonious existence between the Capulets and the Montagues must be predicated on the death of their children. That is, after all, what finally causes them to see the error of their ways and shake hands. However, conceptually, Upright’s production offers that the tragedy could have been avoided by going through an alternative path, made clear in how they conceived Friar Lawrence (
Where the world politick is dressed in red, blue, and purple, the spirituality of the characters is signified in black. It could be read that Friar Lawrence, dressed completely in black and a man of God, lives outside of these power struggles, and is the only truly neutral party in the whole play. Bass’ Lawrence is gentle, and unassuming. He is kind and empathetic. He gives equal counsel to both families and doesn’t devolve his tactics into violent means. The friar wants everything to work out well, and only fails his mission by a simple letter. Set designer Conor Clark also puts a constant image front and center, no matter the mise-en-scene: a stainglassed cross. It’s unmistakable as a symbol, but how might it tie into this timeless tragedy?
Tragedy is not as fated as we may make it out to be. It is a culmination of actions by parties BOTH within and outside of our control. Perhaps, what’s offered by this production is that the best path forward in a divisive world is by following the path of Christ—that of gentleness, of kindness, of empathy. That it is important to trust that path even when it drives us into dark uncertainty. Is that which we love truly gone? No. Is our capacity to exist harmoniously destroyed? No. Is it scary? Yes. Should we turn our backs to empathy for each other? Absolutely not. For, our tragedy comes when we fail to trust the best parts of humanity in ourselves, and when we fail to trust that in the hearts of others.
Check out Upright Theatre’s production of Romeo and Juliet. It runs 4/19; 4/25-4/26; and 5/2-5/4.
Enjoy the Show!
Bradford Reilly
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