{"id":458625,"date":"2026-10-07T02:32:15","date_gmt":"2026-10-07T02:32:15","guid":{"rendered":"https:\/\/www.newsbeep.com\/us-tx\/458625\/"},"modified":"2026-10-07T02:32:15","modified_gmt":"2026-10-07T02:32:15","slug":"magnificent-cast-moveable-sets-highlight-alleys-romeo-and-juliet","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us-tx\/458625\/","title":{"rendered":"Magnificent cast, moveable sets highlight Alley&#8217;s &#8216;Romeo and Juliet&#8217;"},"content":{"rendered":"<p>\u00a0 \u00a0 \u201cFor never was a story of more woe \/ Than this of Juliet and her Romeo.\u201d<br \/>\u00a0 \u00a0 Thus go the tragic closing lines of \u201cRomeo and Juliet,\u201d Shakespeare\u2019s familiar drama of teen love. Joyously, the production of the play now on stage at Houston\u2019s Alley Theatre lives up to the boast.<br \/>\u00a0 \u00a0 Which is surprising considering the play as a text. It lacks the intense emotions of his \u201cOthello,\u201d the murderous evil of \u201cMacbeth,\u201d the psychological depth of \u201cHamlet,\u201d and the comic fantasy of \u201cA Midsummer\u2019s Night Dream\u201d or \u201cMuch Ado About Nothing.\u201d Moreover at its heart are two of the bard\u2019s least interesting characters: 14-year-old Juliet and her teen-idol crush Romeo\u2014both so immature as to believe love happens only once and life is unlivable without it. Their dialogue, for all its Shakespearean beauty, has the wit and wisdom of notes passed in junior high history classes (my generation) or salacious texts my students check in the halls between classes.\u00a0<br \/>\u00a0 \u00a0 It takes superior acting talent to bring these Barbie dolls to life, and the Alley has two such talents toting this load: Rob B. Kellogg as Romeo and the Alley\u2019s own Melissa Molano as Juliet. Kellogg brings not only the good looks and athletic abilities\u2014he climbs tower walls like Spiderman and duels with the skills of Dumas\u2019s d&#8217;Artagnan \u2014 of an ideal Romeo, but he also has a syncopated delivery style that clarifies his lines even as it underscores the poetry of Shakespeare\u2019s words.\u00a0Molano is both lovely and capable of moving Juliet from a moony teen on a balcony to a distraught woman waking in a tomb beside Romeo\u2019s lifeless form. Her words matter less than her emotional range.\u00a0<br \/>\u00a0 \u00a0 Moreover, the average adolescent nature of the title characters is not merely covered up by the acting of the leads. Instead, it is highlighted by two balancing characters who support them: Mercutio and the Nurse. Scholars have long noted the tendency of Mercutio to dominate the show, with John Dryden observing as early as 1672 that Shakespeare had to kill him off in Act III to avoid having him steal the show. Burning with energy and emotion that fuels a vicious if hysterically funny tongue, Mercutio is a crown prince of witty double-entendres, and if he can\u2019t flatten the landscape with his off-color words, he\u2019s ready to wreak havoc \u00a0with his rapier. Part bully, part clown, he keeps the audience\u2019s eyes and ears glued to his every move until, with his drying breath, he condemns both feuding families: \u201cA plague a [sic] both your houses!\u201d As Mercutio, Matthew Amendt blazes, using every ounce of potential the script provides. To watch him exit dying is akin to seeing a celestial nova burn out.<br \/>\u00a0 \u00a0 Juliet\u2019s Nurse stands on the other side of the scale, and to the credit of the playwright and Michelle Elaine\u2019s performance, she balances Mercutio by substituting comedy for his rage. She, too, is adept with double-entendres as we might imagine someone in such a body-emphasizing profession might be, but where he has fury, she has love for his mistress and a self-deprecating wit that endears her. She charms her way into our attention\u2014never wheedling, always ingratiating, trying to please, but brassy. Her grief at the play\u2019s events rings truer than that of characters of higher status, making her a reliable guide for the audience\u2019s emotions.<br \/>\u00a0 \u00a0 I dwell at length on these performances because they are key to what the Alley production provides: a comparative examination on the different faces of love. Romeo and Juliet represent idealized, innocent love and remind us that for all its cuteness, its \u201cpuppy-love\u201d inanity, it carries deep, intense meanings for those who experience it for the first time. Mercutio shows us brotherly love with its whisps of crudeness around the edges, and its confusion with anger and challenged masculinity. Nurse shows something like sisterly or whatever the female version is of avuncular love: doting, supportive, but tinted with the wisdom of experience. These set off the truly dangerous love in the play: parental love that attempts to control rather than understand children. Juliet\u2019s father, Capulet, attempts to order his daughter into a manageable love arrangement. Her mother tamely follows her husband\u2019s lead. They love their daughter, but they do not see or hear her. It\u2019s this tornado of loves that the Alley\u2019s production most vividly communicates. And it is the inability of these loves to come into harmony that creates the sense of supreme \u201cwoe.\u201d<br \/>\u00a0 \u00a0 Such an emphasis stresses the timelessness of the tale; what we see in Renaissance Verona, we also see in 2026 Houston: family tragedies that happen to loving people because of their different forms of love.<br \/>\u00a0 \u00a0 Director Rob Melrose stresses this timeless quality by giving the production both a modern and Renaissance setting. It opens with soccer hooligans celebrating and fighting beneath the golden statue that Capulet, at the end of the play, promises will honor his dead daughter. A Vespa motorbike is present, and the prologue is in modern clothes. But the Vespa putters away with two lovers straddling it, and they are soon replaced by the Renaissance gangs of feuding families. At play\u2019s end, we return to the present, hopefully to use our insights from Shakespeare\u2019s play to better guide our modern lives. My only complaint with the time traveling is that it didn\u2019t happen often enough. The production lags slightly after Mercutio\u2019s death, as the story\u2019s focus on irony distances us from the characters. But in the tomb, the monumental, rotating set finally returns the characters to the front of the stage where their feelings more quickly and fully reach out to the audience, putting us into the play\u2019s cathartic moment.<br \/>\u00a0 \u00a0 \u201cRomeo and Juliet\u201d may not be Shakespeare\u2019s finest work, but the Alley\u2019s production shows it off as a gem\u2014a gem that is polished by a large and magnificent cast, amazing, moveable sets by Michael Locher who puts all the Alley\u2019s wealth of resources into action, and a thoughtful, creative concept for the production as a whole courtesy of Rob Melrose.<br \/>\u00a0 \u00a0 See \u201cRomeo and Juliet,\u201d and discover the complexities of finding the different forms of love blooming into woe \u2014 the tragedy of being young and pure in a complicated, imperfect world.<\/p>\n<p>\u201cRomeo and Juliet\u201d is at Houston\u2019s Alley Theatre through Oct. 18.<\/p>\n<p class=\"cci_endnote_contact\" title=\"CCI End Note Contact\">Robert\u00a0Donahoo is a\u00a0Sam Houston State University Professor Emeritus and writes theater reviews for The Courier.\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"\u00a0 \u00a0 \u201cFor never was a story of more woe \/ Than this of Juliet and her Romeo.\u201d\u00a0&hellip;\n","protected":false},"author":2,"featured_media":458626,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[56,58,57],"class_list":["post-458625","post","type-post","status-publish","format-standard","has-post-thumbnail","category-houston","tag-houston","tag-houston-headlines","tag-houston-news"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/us-tx\/wp-json\/wp\/v2\/posts\/458625","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/us-tx\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/us-tx\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-tx\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-tx\/wp-json\/wp\/v2\/comments?post=458625"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/us-tx\/wp-json\/wp\/v2\/posts\/458625\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-tx\/wp-json\/wp\/v2\/media\/458626"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/us-tx\/wp-json\/wp\/v2\/media?parent=458625"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-tx\/wp-json\/wp\/v2\/categories?post=458625"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-tx\/wp-json\/wp\/v2\/tags?post=458625"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}