Jed Peterson directs Shakespeare’s star-crossed tragedy at McCarter’s Berlind Theatre.
By: Stuart Duncan
It is rare these days for a director of a Shakespeare play to leave the setting where the playwright intended to keep the year of the action more or less as written. No bizarre costuming or embarrassing stage tricks to excite modern audiences is also rare. The Romeo & Juliet at McCarter’s Berlind Theatre this weekend may just be the purest, most definitive Shakespeare you are likely to be offered in years.
It is the work and vision of a Princeton University senior and is staged as part of his thesis for the English department. Jed Peterson is not just any senior. He has been a stalwart of Theatre Intime on the campus, has acted in some of the most memorable productions over the past several seasons; has headed the Summer Intime series on campus the past two summers; and has taken a year off to study at Moscow University to fill any crevasses in his classical training.
His production of Romeo & Juliet shows his thorough study of such classical themes. The play itself is unlike most of Shakespeare’s tragedies, the core of which pits a powerful man against a tragic flaw in his character. Romeo, it would seem, more closely resembles Greek tragedies man against his destiny, or, if you will, the gods. And so this Romeo opens on a Greek agora, with the suggestion of temples in the background. It is the work of Tarryn Chun, also a graduating senior and also submitting her work as a partial requirement for her senior thesis.
As if to confirm the Greek approach, the evening begins with a chorus (Shakespeare had it as a prologue), in this case represented by Shannon Lee Clair (one of seven freshmen in the cast). It is she who sets the scene "in fair Verona," introduces the competing houses of Montague and Capulet and tells us of "the pair of star-cross’d lovers." And, from the beginning, we realize we can expect a stately, thoughtful exposition. Costume designer Chloe Chapin has kept it simple: the Montague clan is clad in black; the Capulets in white; and the servants, a blend of the two colors.
As might be expected, the acting is a bit uneven not everyone can handle iambic pentameter with aplomb. John Doherty steals acting honors in a trio of roles, each quite different: a polished Prince, a slightly supercilious Paris and a Mercutio as interesting as ever seen. In fact his "Queen Mab" speech ("she is the fairies’ midwife, and she comes in shape no bigger than an agate-stone on the forefinger of an alderman, drawn with a team of little atomies athwart mens’ noses as they lie asleep") would stand out in any company in the world. Roger Mason is extraordinary as the nurse, impatient, coy and demanding, by turns. Sam Zetumer clearly has great fun as Romeo and his balcony scene is delightful, without resorting to the athleticism some productions insist on. Irene Lucio is a young Juliet (productions often forget that she is supposed to be a young teenager). She reaches her best moments as the challenges begin to pile up. Casey Ford Alexander is a fine, hot-headed Tybalt.
There are some spirited sword fights, some fine use of music and, above all, a sense of structure. This is not a Shakespeare aimed at the easily bored, nor yet the unschooled. The more you are prepared to wrestle with the serious themes of the piece, the more director Peterson has waiting for your inspection. It is done with a great sense of fun, a sharing of the pleasures of language, a low bow to youthful joys and the anguish of young love.
Romeo & Juliet continues on the Berlind Stage of McCarter Theatre, 91 University Place, Princeton, through April 22. Performances: Thurs.-Sat. 8 p.m. Tickets cost $15. For information, call (609) 258-2787.

