Romeo + Juliet : In the Club, There’s Two Fams
By Laurel Sanders
Romeo and Juliet is a story that has been told countless times since the fourteenth century. It’s a tale of young love and sudden tragedy, embodying the frustration of being born into a world of senseless conflict. Yet, the love between Romeo and Juliet is just as irrational as they abandon all reason for each other in the span of five days.
The story continues to be reimagined in recent years, from critically acclaimed adaptations like Baz Luhrmann’s Romeo + Juliet (1996) and Steven Spielberg’s electrifying West Side Story (2021) to more unconventional takes such as Gnomeo & Juliet (2011) and Warm Bodies (2013). Shakespeare’s timeless love story can be adapted to any era, proving its enduring relevance.
In 2024, Romeo and Juliet found yet another reinvention on Broadway, directed by Sam Gold. This modern adaptation, designed to appeal to mainstream audiences, particularly Gen Z, stars rising talents Kit Connor and Rachel Zegler. And what sets this production apart? It’s the same original script as Shakespeare’s Romeo and Juliet, but this time, it’s set in the club.
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This is the huge “IT” factor this production is relying on, and it’s sort of genius. Going out to the club when you're young and reckless always carries the underlying hope that you might meet someone: a stranger, a friend, the love of your life. In Romeo and Juliet’s case, it’s the latter. And just like a night out, the mood can shift in an instant. One moment you're having fun, and the next, it’s unsafe — you don’t recognize anyone, you’re too drunk, and everything feels out of control. So, as quickly as you buy into Romeo and Juliet’s love story, you equally understand when everything starts to unravel.
The energy this setting creates is nothing short of electric. As you walk into the theater, the actors are tossing a ball between each other bored, yet brimming with untapped energy. Suddenly, they’re lunging for the ball, egging each other on. Some actors break off to interact with the audience—flirting, fighting, and causing mischief. You might even catch Romeo hitting his vape. Then, Gabby Beans enters as the Friar, the MC of the evening, introducing the cast in their roles and hyping up the crowd. And that’s just the introduction.
From the glittery Gen Z costumes to the strobe lights to the huge stuffed animals scattered across the stage, the aesthetic is specific, intentional, and pulsing with club adrenaline.
The set and space itself is also incredibly well used. Every nook and cranny of The Circle in the Square Theater is explored and utilized. Actors are constantly running through the aisles. In an impressive monologue from Kit Conner, he simultaneously runs a lap through the entire theater, even interacting with audience members up in the standing area. Later in the play a scene is held entirely in the overhead crawl space, as the actors run and duck through the lighting. For the picturesque balcony scene, Juliet’s bed descends from the ceiling, hanging just out of reach in the air. The visible suspension leading to the iconic pull-up kiss. My personal favorite moment is when Romeo and Juliet first meet each other and the center stage unfurls to reveal a huge explosion of color. Flowers cover every inch of the stage in this beautiful visual as the club converts into a meadow of love and lust. Ultimately, when blood is shed and stains the flowers right before intermission, the stage transforms back into its cold sterile self. You’re left in the audience missing the brightness and color of before which now in retrospect seems brief and short-lived. This sort of creativity is abundant in the set production and truly made the play feel like an experience rather than just words on a stage.
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You may have noted Jack Antinoff’s name on all the posters and playbills (NOTE: this production is not a musical). This is another targeted choice to appeal to Gen Z. Jack Antinoff is responsible for producing some of the biggest albums of the last 15 years. From working with Taylor Swift to Lorde to Lana Del Rey. Antinoff has built a reputation. He wrote three-ish songs for Romeo + Juliet. I say -ish because some of these songs might be shorter than 2 minutes long. That being said, they are fun and I liked them. Plus they are effectively sprinkled throughout the performance.
Early on, The Capulette’s get a fun party song, where Juliet ultimately gets a solo as Romeo spots her for the first time. This is a fun way to not only highlight Rachel’s voice but also add a little bit more magic into “love at first sight”. Before intermission, after Romeo has just killed Tybalt (Juliet’s cousin), Rachel also returns to sing “Man of the House.” A ballad which truly shows her range, but also is an interesting introspective into Juliet’s character, who often gets labeled as “dumb” for killing herself over a man. Lastly, to get us back into the groove after intermissions as people are getting back into their seats Paris gets to sing a welcome back song. They are all good, and they are all short. Ultimately, they are also unnecessary. But I understand if Rachel Ziegler is making her Broadway debut, it would be insane to not have her sing.
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For such a young cast, their performances are impressive, and their charisma carries moments that might otherwise falter. In all honesty, I was mostly drawn to this show to see Rachel Zegler, and she does not disappoint. Boy is she tiny, but wow does she fill the space with her talent. Naturally, they have her sing, and her voice is out of this world, even more so in person.
Heartstopper’s Kit Connor is also perfect casting as Romeo, with his boyish charm and youthful vulnerability. But you equally believe his uneasiness and desperation as the play progresses. The supporting cast completely blew me away. Gabby Beans might just steal the show as Mercutio and the Friar, balancing comedic timing with genuine emotional weight. Sola Fadiran, playing both Capulet parents, is at times hilarious and at times terrifying. Tommy Dorfman delivers one of the most drastic shifts, balancing the roles of Nurse and Tybalt in a sharp, eye-catching performance. And Gian Perez, as Samson, Paris, and Peter, is clearly having the time of his life.
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That said, while it’s exciting to see a small cast push themselves in imaginative ways, at times they’re spread too thin. From my experience, it was hard to visualize and feel the deep-seated hatred between the two families, especially when actors are switching characters and allegiances every other scene. The family tension is integral to the star-crossed nature of Romeo and Juliet, and in this version, that conflict doesn’t fully translate within the club setting and limited cast.
Additionally, while it’s an endlessly funny character choice to have Mercutio high off his ass for most of the play, it undercuts the emotional weight of his death. Instead of the devastating loss of Romeo’s best friend, it feels more like the comic relief character is dying, which makes Romeo’s subsequent anger and drive for murder feel less believable.
Ultimately, there is a lot to love about this run on Broadway. To dedicate a production of Romeo and Juliet to the younger generation is a very special thing. From costumes to cast to music, director Sam Gold is holding his hands out to Gen Z and saying “Here. Look, this is for you.” Gold has directed five previous productions of Shakespeare tragedies. He understands this text and wants to push it in new directions as much as possible. He’s giving new audience members an exciting, immersive way for them to engage with theater and Shakespeare. Also, to see this diverse group of creatives make art in New York when the world seems scary and divisive, is also incredibly impactful. Traditionally, Shakespeare was often presented through drag. And this modern adaptation continues to push gender boundaries and explore fluidity in really beautiful ways. Romeo + Juliet had an awesome run on Broadway and closed on February 16th of this year. RIP Romeo and Juliet, the doomed lovers who were fated to die and fated to love. Shakespeare really knew his shit (sometimes).
