Brian Tuttle's 11:11 Theatre has generally presented his new plays in the intimate confines up the stairs at the Actor's Workshop on Summer St. Their naturalistic style, moved to the larger open space of Durrel Hall, works well enough for this modern dress "Romeo and Juliet," although the result seems a bit more like a workshop than a fully-developed Shakespearean production. Some members of the cast need additional work on volume and verse-speaking, and the whole production, which clocks in at slightly over two hours even though edited, runs in fits and starts, Pace and consistency should improve as the show runs, however. Director Tuttle takes a small role in the play and probably should have had a strong assistant director/verse coach to tighten up the action and improve clarity.
As the star-crossed lovers, Kerlee Nicholas and Melissa Baroni are interesting choices. He's best when moody and street smart, getting too close to yelling when emotional. She's consistently childish and occasionally runs on, playing against her physical presentation. Her last role was in Zeitgeist's "Flesh & Blood." Moreover, their relationship is more believable than the brawling lovers seen earlier this season at the ART. John Ferreira's Mercutio comes closest to a Shakespearean presentation and is quite effective, especially during "Queen Mab." Various roles have been changed and reduced. Emily Evans' Nurse is younger than usual and less humorous. Peter played by Rebecca Maddalo is just the humorless Capulet's houseperson. The Montague street presence is coed; Fran Betlyon plays Romeo's Page, Balthasar. The director plays his father, which may be out of necessity. As Juliet's parents, Curt Klump and Diana Varco do well enough in these plot-essential roles. James Smith and Adam Harper have the airs for Prince Escalus and Count Paris. Jason Warner is more a plot element as Friar Lawrence. The 21 person ensemble for this production is at least twice the size of many recent barebones productions around these parts.
The show features live music and songs by Lucas Carpenter backed by drummer John A. Brewton. These definitely help define the show as contemporary. Lighting and set are rudimentary but appropriate, though more of the action could be played closer to the audience. The death scene is, but setting it up is difficult. Bodies can be very inconvenient. The ending thus becomes a bit sketchy, especially the final discovery. Only Rick Lombardo's New Rep production last fall made the whole confusion work. Before this company tries Shakespeare again, however they would be advised to work on fundamentals.