Two bodies both alike in lividity, in fair Toronto where they lay to die. Unchained Theatre Company’s production of Romeo and Juliet takes a story we all know and brings it to the familiar locale of our beautiful city for an intense and passionate retelling. Directed by Unchained Theatre Company’s co-founder Jack Burrill, Romeo and Juliet get new lives amongst Toronto’s elite.

Most, if not all, of you reading this are likely familiar with the story of Romeo and Juliet. And even if you don’t think you are, you’ve probably seen at least one adaptation of one of Shakespeare’s most oft-produced plays. Which for me means that I’m going to focus more heavily on the changes that Burrill and his team have made to the story to make it the unique offering currently on stage. It was evident from the jump that a great deal of thought and imagination went into putting this production together, and the scholar in me loves it.

They’ve framed the story like a crime show, starting us off at the final scene and then by asking Friar Lawrence to divulge the events which have occurred, we then go back to the beginning of the text. They even went so far as to have a serial-killer-hunter style wall of pictures and yarn in the lobby to show the relationships between the characters. Setting the story up as Toronto’s warring crime families is smart, as it gives motive and reason for the hatred between the families. Their digital program is laid out like a police dossier as well, further extending their vision.

A little scholarly note about the changing of the place names: they still scan very similarly to, if not exactly, for the place names in Shakespeare’s text. Toronto for Verona is spot on. Montreal for Mantua is a little more of a stretch, but they both start with M and are 3 syllables so I’ll take it! Yet another way in which the adaptation of the text seamlessly works within the bounds of Shakespeare’s world.

An element of both the setting and the casting which I enjoy is that the Montagues are Spanish, yet so are some of the servants of the Capulet household. The differences in language allowed for good reasoning as to why the servant can’t read Capulet’s list of guests, and there were a few moments where the passions of Lady Montague or Romeo took over and they spoke in Spanish rather than English. This adds another layer to the families dislike of one another while giving the Montagues a unique quality to their family.

There were several times throughout the performance where there was improvised text, particularly in the transition moments or moments of high emotion, which added a level of comedy to the play. The only time when it really took me out of the moment was during Juliet’s death scene, and that’s only because that is such an iconic moment that the interjection, though understandable from an emotional context, stood out as being unfamiliar. The Nurse and Lord Capulet both get a good deal of laughs from their various off-text musings.

The fight choreography, designed by Sheldon Williams, is downright athletic. Considering the very small size of They Assembly Theatre, it’s wild to me that they’re able to incorporate so many kicks and flips into this choreography. I was also very impressed that it was full contact; this again adds to this sense of intensity and intimacy which I could feel throughout the production. 

Bringing Shakespeare’s tragic couple to life are Lenin Segovia and Alessandra Cavallini. Segovia’s Romeo is full of passion and charisma, allowing the audience to fall for him just as quickly as Juliet. Cavallini’s Juliet is feisty and self-assured; a fitting change in character given the change in her age for this production. Reuben Stewart is a hilarious nurse, bringing all of her bumbling and delightful storytelling to the fore. I haven’t seen a production have the Nurse as a drag character, but much like Edna in Hairspray, I wouldn’t mind if this became the new tradition. Brody Burrill’s Friar Lawrence showed more emotion and empathy than I think I’ve ever seen in that role, and it makes him a more well-rounded and human character rather than some aloof and uninvolved figure in the story. Jack Burrill is a fiery Lord Capulet; when he’s in a rage you’d better watch out! Morgan Bojie’s Lady Capulet is a tragic figure of her own in this production, and Bojie gives her a great depth of emotion and understanding. Alison Adams is an unhinged Mercutio; perpetually the life of the party and hot-headed as ever! I really like the little fling it appears she’s having with Cianna Stevens’ Benvolia! They’re a perfect match as Stevens gives Benvolia a calming presence. James Ryan’s Tybalt certainly lived up to the Prince of Cats title as his fight choreography was fast and furious. Rose Montano’s Lady Montague matched the fire of her counterpart Lord Capulet; the two of them facing off is appropriately terrifying. Rounding out the cast are Sheldon Williams as Paris and Erick Hernandez as Peter, who both give nuanced performances in their various roles. This truly is a stellar cast; their command of the language and ability to play within it is commendable, and makes the production such a joy to watch. 

Our culture is obsessed with the story of Romeo and Juliet. It’s been told and retold countless times, and yet there’s something that always draws us back in. Personally, I think it’s the knowledge that love does, and always will, triumph over hatred which makes this story speak such volumes. In this production, we see that victory happening in our own backyard (so to speak) and it makes it feel all the more special. This is a very limited engagement so make sure to get your tickets ASAP at: https://www.eventbrite.ca/e/romeo-and-juliet-tickets-906932007047?aff=ebdsoporgprofile

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Cover Photo: The Cast of Romeo and Juliet. Photo by Pola Rodríguez.

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