Rocking out to a classic

Tom Titus

There’s a three-piece rock group on a bandstand marked with graffiti

and three semi-soul sisters belting out Motown tunes, so playgoers at

UC Irvine’s “Romeo and Juliet” might initially think they’ve wandered

into the wrong venue.

Before you check your ticket stubs, rest assured that you’re in

the right place.

The UC Irvine production of Shakespeare’s classic tragedy may

strike a few modern chords -- such as the street scene music from

“West Side Story” when the Capulets and Montagues square off as the

play opens -- but purists needn’t wince. The play itself is as

viscerally involving as ever, perhaps even more so.

Director Cliff Faulkner employs the elements of today’s genre to

illustrate how little things have changed over the past 400 years.

Young people still kill one another over such mundane matters as turf

rights and female favors, and they also fall desperately, hopelessly

in love.

At UC Irvine, the title role lovers throw themselves body and soul

into their assignments. Christopher Trice is a dynamic Romeo,

reaching for an emotional intensity bordering on madness as he

avenges his best friend’s death and taking his final step with

overriding conviction.

As Juliet, Talia Thiesfield delivers a superbly sensual

performance, strikingly defiant as her father demands she marry

another man and robustly pledging her love to her newfound swain. The

intimacy of UC Irvine’s Studio Theater demands such interpretative

honesty, and both Thiesfield and Trice score brilliantly on that

scale.

The role of Juliet’s nurse traditionally is a show-stealing

assignment, and Michelle Cowin wrings the maximum effect out of it,

establishing herself with the bold, brassy presence of a Queen

Latifah. Martin Swoverland is a strong Friar Laurence, modulating

Romeo’s passion with his wise counseling.

Another famously showy role is that of Romeo’s ally Mercutio, in

which Justin C. Lujan revels with satirical pizazz. His “Queen Mab”

speech is accompanied by the live orchestra, underscoring its

taunting properties.

Omar Ricks is a ballistic Capulet, while Marina Morrow registers

more inner fervor as Lady Capulet. Patrick Sabongui is a proud,

haughty Tybalt and Richard Prigge registers a properly callow nature

as Juliet’s other suitor, Paris. Rebecca Tourino’s contributions as

narrator and apothecary also are impressive.

Christopher Villa splendidly choreographs the play’s frighteningly

realistic combat scenes, while musical director Dennis Castellano’s

combo lends aural support. Costumes, by Samantha E. White, are

excellent, as is the lighting, designed by Amber Grunwald.

“Romeo and Juliet” may be one of Shakespeare’s most familiar

plays, but UC Irvine’s production will have a few surprises in store.

It’s an ancient tragedy for our time.

AND ...

“Romeo and Juliet” wasn’t the only major production on the UC

Irvine campus last weekend. Director Teri Ralston unveiled a terrific

benefit production of Stephen Sondheim’s “Follies” at the Irvine

Barclay Theater.

Ralston also played Sally, one of the leading roles (and one she’s

done twice before) while Stephanie Zimbalist was a stunning Phyllis.

The appearance of such Broadway legends as John Raitt and Betty

Garrett in the supporting cast certainly was a drawing card for this

production.

With a nucleus of Broadway pros, Ralston basically put the show

together in about two weeks, and it was a dynamic effort. I give my

kudos to all who participated in this benefit for the California

Academy of the Arts in San Juan Capistrano.

* TOM TITUS reviews local theater for the Daily Pilot. His reviews

appear Fridays.