Romeo in black jeans

The Cast’s interpretation of R&J speaks of good things to come

By Katherine Joyce

Butterflies are Free runs through June 23 at MainePlay Productions in Portland. Call (207) 771-5611.

DAYS OF THE NEW: the Cast is more than equal to the job put in by Claire Danes and Leonardo DiCaprio in this 1996 adaptation.

As familiar strains of the Dire Straits’ classic Romeo and Juliet play over the sound system, the house lights start to fade. Thus, the play begins — a modern adaptation of Shakespeare’s Romeo and Juliet. I have to admit to being skeptical at the outset. Having seen modern adaptations of the least likely of Shakespeare’s plays, I have consistently found that they lack depth and insight (aside from the common struggle of modern or traditional productions to convey the true meaning of the language to the audience). This production, however, was no fuel for my skepticism.

The Cast, formerly (and very briefly) known as the Craig Bowden Ensemble, is a new group of players in town. Although they are a new group, they are by no means new players. The Cast comprises familiar faces from The Theater Project, Acorn School, Mad Horse, and others. Romeo and Juliet is the Cast’s first performance, but Craig Bowden, the driving force behind the formation of the group (and the man who adapted, directed, and starred in the play), says there will be more to come.

The play’s adaptation, although no easy feat, consisted exclusively of removing all of the extras — this script is about as barebones as Romeo and Juliet can get and still retain a plot. The “modern” in the “modern adaptation” comes in the form of the performance itself. The way this cast takes Shakespeare’s words and makes them meaningful, with the rhythm of modern humor, and set to a very modern sound track, lends credence to the old maxim that Shakespeare’s plays are timeless.

The paring down of the script makes the scenes short and punchy. This style is well complemented by the incredible sound design, put together primarily by Pete Collins (who also plays Gregory). The musical choices reflect the passion and humor of the show, and were obviously made with a great understanding of the arc of each scene.

In general, this ensemble does an incredible job of owning the script. For most, the characters seem to come from a very natural place, and there is very little strain to embody the sort of person who would speak in such archaic English. The comic relief in the show comes from two actors who have really created genuine characters from which literature spews comfortably, and with whom the audience can really connect. Jonathan Guimont delivers Mercutio’s teasing with a great modern, sarcastic, mocking sense of humor. Although often in juvenile-delinquent mode, Guimont has an equally strong ability to engage in serious exchanges. He captures all of Mercutio’s qualities masterfully, delivering volatility, loyalty, and boyish charm with great aplomb. Jessica Jane Parker (Nurse) also provides a great outlet for comic moments. She has a hilarious way about her that is as enchanting as it is nasty. Parker creates a Nurse that is down to earth, full of energy, and just raunchy enough to keep the audience guessing.

The comedy found in the characters of Mercutio and the Nurse is balanced well by the sheer earnestness of both Craig Bowden and Leiza Greenwood (Juliet). Bowden’s Romeo is youthful in his impulsiveness and apparent lack of skepticism. Although not quite appearing to be as young as 13, Bowden’s performance never loses its air of immaturity interwoven with a kind of faith and romance people of all ages search for in their most vulnerable moments.

Greenwood tends more towards expressing Juliet’s youthfulness through physicality. She has the adolescent habits of pulling on her clothing and closing in on herself when she sits down. These habits seem to be intentional choices, but are distracting from the strength and vulnerability of the quietly passionate Juliet the audience glimpses when Greenwood’s hands are still. She tends to be most grounded when sharing the stage with Bowden, tapping their incredibly tender on-stage chemistry.

The adaptation works. It is simple, honest and genuine in a way that is hard to pull off with complicated characters and an even more complicated script. The Cast is able to capture the nuances of the many relationships covered by the play without ever losing sight of the wonderful love story. They bring the romance and passion of this play back to life in a very real and moving way.

So, how did this brand new ensemble pull off such a complex first show? According to Bowden, the production was a result of a great deal of goodwill by many. The set was from Queen Lear, which had recently been produced in the same space. The lights were from a different show. The cast members found or purchased their own costumes. Mad Horse provided some assistance in production areas like posters, etc. In short, it was the team effort of the Cast, the crew, and interested members of the community, making it particularly fitting that it took place at the St. Lawrence Arts and Community Center on Munjoy Hill.

Katherine Joyce can be reached at ingliskat@aol.com.