The Mechanical Theater presents Shakespeare's 'Romeo and Juliet'

A simple code​

Brianna Lopez, Clay Westman, and Nico Stoerner are costumed by Michele Schutte in tan Greek tunics — why, I don't know, but why not? They're suitably unisex and simple, and hearken back to ancient theater. Lopez's has a blue sash and Westman's is red, to differentiate between Capulet and Montague, Verona's warring clans. They also use two-sided blankets as costume pieces to change colors — er, teams — that is, families, when they play characters other than the title pair. Stoerner's costume has both red and blue, as he plays people from both sides.

It's a simple code that, along with a handful of props pre-set on windowsills and tables, a bench as the only furniture, and no light cues, allows for instantaneous changes of character. A few times they don't work. Stoerner playing both Tybalt (blue) and Mercutio (red) in their deadly conflict trivializes an important event. But a moment after Juliet apparently dies in her bed, Lopez plays the servant who delivers the news to Romeo, and it's a poignant juxtaposition.

That's what love can do

The story's major plot points are all here, stripped of verbiage and characters yet still clear. Singel takes some fun liberties, such as allowing Romeo to answer Mercutio's early questions about the girl he's mooning after by grunting the word "Dude," which is not in the script but I swear sounds natural. Moments later, Romeo explodes with a torrent of richly articulate poetry when he and Juliet fall in love at trembling first sight. The contrast even shocks Romeo who, Friday night, turned to an audience member and said, "Shakespeare, eh?" as though he was surprised and impressed. That's what love can do.

Singel's adaptation highlights some characters, dispenses with others. Westman also plays a ferocious Lady Capulet, Juliet's mom, the sole parent of any significance in this version. Stoerner's Nurse and Friar are both pared down, and his Paris, the man Juliet's mother arranges for her to marry, becomes a significant character, though he's often lost in full-length productions. This production starts with a manic intensity reminiscent of the Reduced Shakespeare Company's brief version in The Compleat Works of Shakespeare, Abridged, but aspires to much more.

Most of all, Singel focuses on the title characters. Lopez and Westman compel us to pay attention to who Romeo and Juliet are — passionate teenagers, after all, not much different from teens today — and their sudden attraction. Mere inches away from us, their chemistry plays true.

A relaxed atmosphere

On Friday evening, birds in nearby trees provided gentle accompaniment, and the setting sun cast such a beautiful glow I first thought Mechanical had sneaked some lighting equipment onto the porch. The company encourages audiences to bring their own beverages, and Westman provides instrumental accompaniment before the play, adding to the relaxed environment.

Purists might think it Shakespeare lite, but should still be impressed with how flexible and durable the play is. I've seen Romeo and Juliet dozens of times, including small cast (four, in Joe Calarco's Shakespeare's R & J, produced locally by Mauckingbird Theatre), and few made me laugh so much while also feeling the tragedy.