Romeo and Juliet: Love is a Battlefield, Volume 2

By starrymag | August 3, 2016

By: Taylor Gates

The Los Angeles theatre scene continues to grow and wow with the introduction of Prospect Theatre and its debut show: Romeo and Juliet: Love is a Battlefield, Volume 2. The production is sleek and the minimalistic staging and simple but extreme lighting gives the venue an edgy, industrial vibe. It’s a stark yet welcome contrast to the warm and cozy feel of Rockwell Table and Stage, the theatre where the show’s first volume premiered last summer.

 

Creator and director Bradley Bredeweg (writer/producer on hit TV show “The Fosters) has taken creative license with the script and songs, modernizing and sprucing it as he sees fit, but he has not eradicated Shakespeare’s script completely. There are still word-for-word quotes sprinkled throughout the production, including the notorious balcony scene. He even manages to slip in an homage to A Midsummer Night’s Dream.

 

The majority of the action takes place on three different stages throughout the theatre: two running parallel in the front and middle of the room and one heightened and to the side, which serves as Juliet’s famous balcony. The setup offers a truly 360-degree experience as the action really does happen all around you. There are pros and cons to the arrangement; while there are no bad seats in the house, there are no perfect ones either. You will have to turn your head a bit even if you do splurge for the VIP seats.

 

Lively, high-energy numbers like Beat It, Let’s Go Crazy and1999 highlight Chris Downey and SaraAnne Fahey’s impressive choreography. Misha Reeves’ modern costuming makes it easy to distinguish who is a Capulet and who is a Montague (every Capulet has a pop of red in their outfit and every Montague a splash of blue), which serves as a nice way for the audience to keep everyone straight as well as being aesthetically pleasing under Justin Preston’s red-and-blue lighting design.

 

Every cast member delivers a high-caliber performance. Ashley Argota, who plays Juliet, is the most obvious standout. Argota (last seen on “The Fosters”) has a seemingly endless range both vocally and emotionally—she flawlessly strikes a balance of both naivety and passion, juxtaposing sweet and sultry throughout the night. From the flirty fun of Heartbreaker to her intense beautiful Brave rendition, Argota manages to make the character both sympathetic and fun.

 

Argota has an equally capable Romeo to play alongside. The consistently solid Alex Nee portrays a confident, but not cocky Romeo. He offers a charming, rather sophisticated interpretation of the character, even handling the daunting task of covering Bowie’s Heroes with ease. He and Argota’s voices mesh nicely together, their chemistry especially apparent in Shadows of the Night and their breathtaking I Have Nothing duet.

 

Chris Chatman and Jordan Kai Burnett light up the room as the playful, fun-loving and sometimes mischievous duo of Mercutio and Benvolia (the character in this story version is a woman). The two are masters of physical comedy, delivering multiple laugh-out-loud moments. Chatman is irresistibly charismatic, making his death even more heartbreaking. When the story takes a dark turn, Kai Burnett proves she is capable of being more than just comic relief—her somber Pride (In the Name of Love) successfully sets the tone for the entire second act.

 

A.J. Mendoza as Tybalt and Brett McMahon as Paris both swagger around the stage with an aura that screams “bad boy.” McMahon’s Don’t You Want Me Baby always evokes laughs within the first few bars and his jealousy-ridden cover of No Doubt’s It’s My Life sets an appropriately uneasy atmosphere. Hungry Like the Wolf is almost like an acrobatics routine with the two running and leaping onto boxes and pounding their chests. The pair is prominently featured in Sweet Dreams, which is arguably the best addition to volume two and a powerful way to end the first act.

 

Nicci Claspell consistently crushes it as the nurse. Although her part is relatively small, she makes it memorable. Her performance of What’s Love Got to Do With It is an absolute showstopper of a number, showcasing Claspell’s powerhouse voice. Additionally, Peter Allen Vogt’s performance as Father Capulet is chilling with his deep baritone exquisite yet laced with impending doom. His harsh, controlling treatment of Juliet is raw enough to make viewers squirm in their seats.

 

Both Kyra Selman and Julie Garnye deliver strong performances as Mother Montague, alternating their portrayals per night. They create a formidable opponent for Father Capulet, each encompassing a no-nonsense yet still maternal attitude towards their son. The electrifying Hell is for Children sung by Father Capulet and Mother Montague is the underrated gem of the night.

 

Jameson Moss plays the friar, who acts as a narrator for the production. Although Moss toes the line of overacting at times, you can’t deny that he oozes charisma and will leave his own unique mark on the role. He does his job of acting as the middleman and the audience’s gateway into the action. Moss is also not afraid to improv, which at times leads to hilarious results.

 

The cast works well together, successfully putting an 80s spin on the classic love story. Brad Hooks’ musical direction is brilliant, especially during the haunting, goosebump-inducing acapella hymns in the show’s final moments.

 

The venue could do with altering their menu a bit. The food is on the pricier side, which can seem daunting with the two item minimum. If you’re just looking for something to munch on, you can get a plate of piping hot, delicious fries and a soda for an even $10. If you plan on eating a full meal and getting a cocktail, prepare to fork up around $40.

 

This production is actually a third volume in a way as Bredeweg also adapted and directed the musical for “The Fosters,” a series on the Freeform Network. “The Fosters” version of the show premiered in March and featured original compositions also by Hooks. The episode was a hit with viewers and the album broke into the Top 50 on iTunes and hit the number four spot on the Soundtrack chart.

 

Ultimately, Bredeweg has crafted a show that will appeal to both young adults looking for a fun night out as well as veteran theatre fans craving a unique experience. Younger audiences will enjoy the chic atmosphere while older generations will happily jam to familiar 80s tunes.

 

Romeo and Juliet: Love is a Battlefield, Volume 2 runs every Friday and Saturday night through August 20. Tickets are available on Prospect Theatre’s website: www.prospecttheatre.la and Goldstar: https://www.goldstar.com/events/los-angeles-ca/romeo-and-juliet-love-is-a-battlefield-vol-2-tickets.