Although I studied Shakespeare at the Globe in London, I never saw myself in a role like Romeo. Casting calls may ask for all identities, but at the end of the day, it typically goes to a white man. Same goes for Juliet. No matter how much talent artists of color have, it felt like internal racism and bias in theatre would trump all, forcing us to work ten times harder.
However, The Public and New York Public Radio’s bilingual podcast production of Romeo and Juliet, proved that there is space for artists of color in these roles with Juan Castano and Lupita Nyong’o playing the star-crossed lovers. The production, alternatively titled Romeo y Julieta, embraces the Spanish language, teenage romance and the power of audio to add new colors to one of Shakespeare’s most popular plays.
The world is crafted from a swelling sound of music, transporting the listener into the prologue and guiding them into a brawl.
It’s an all-encompassing experience best listened to with headphones. The shattered glass, the rushing of feet, the sirens and screeching of cars. Similar to live performance, the setting is established in the beginning, but solely through sound. It is understood we are in present day, or somewhere near it, by the familiar cacophony of modern-day neighborhood sounds.
Sound designers Bray Poor and Jessica Paz balanced the audio of the environment with the intimate and boisterous moments shared between characters. It sounds just as virtual reality looks. Listeners are transplanted to the room and listen in to the characters’ stories and conversations. It’s unlike any podcast production I’ve heard before.
The adaptation, created by Saheem Ali and Ricardo Perez Gonzalez, pulls from Alfredo Michel Modenessi’s Spanish translation of the play. The script mixes English and Spanish while maintaining the poetry and rhythm of Shakespeare, switching between the two languages line by line, couplet by couplet or stanza by stanza. Its balance makes it easy to follow and allows the performers to utilize the conventions of Shakespeare’s writing. Under the direction of Ali, the production brings the energy and emotions out of Romeo y Julieta.
When Romeo and Julieta first meet, the party surrounding them dissipates and the flirtatious dialogue takes over. Listeners hear Julieta stumble and Romeo catch her and pull her in with his voice. Suddenly it is only them two in the room. Closing my eyes, I saw the scene zoom in on the two until their kiss was interrupted by the nurse. Just as a director would focus the audience’s eyes to one part of the screen, Ali narrows listeners’ ears into one connection—one romantic chance encounter. It’s an intimate and beautifully crafted moment that uplifts the play and kept me listening.
The power of the script is upheld by the actors. Putting Shakespeare in a solely audio format requires performers to make the most of his poetry and take advantage of their vocal variety. Peter (John J. Concado) succeeds at this. He is very charismatic in his vocality, making up for what you can’t see. An exuberant, comedic character is built through his pitch and tone, contrasting with characters like Romeo. When the voice isn’t explored, it results in a stagnant scene that slowly makes its way through the story. In scenes with Mercutio (Irene Sofia Lucio), she plays rough with Romeo and Benvolio like the kid who likes to get into trouble. Her voice tends to get caught up in the act of being tough and reckless, losing variety. However, when her voice flows with the poetry and plays with Romeo’s soothing tone, Mercutio’s complexities are shown.
Another aspect that changed in this production is the combination of Lord and Lady Capulet into one character, performed by Florencia Lozano. The result of the matriarch dominating the Capulet household creates a more spirited relationship among Capulet, Julieta and the Nurse. Capulet’s connection to Julieta is more intimate and from the mother’s depiction of love. Lozano’s performance is also playful in itself, dancing on words and letting them ring with smart choices of pronunciation to add a comedic effect that keeps listeners drawn in by the mother’s hijinks.
The play’s most memorable scene is the balcony scene. Romeo stands outside Julieta’s balcony, listening as she distressingly calls his whereabouts, in Spanish instead of English, as she says, “¡O Romeo, Romeo! ¿Por qué eres Romeo?” This change is breathtaking, proving this production is unlike any other production or adaptation of Romeo and Juliet, beyond its audio form. Lupita Nyong’o and Juan Castano’s chemistry shines through as the scene plays musically. Even if you don’t speak Spanish, you hear the connection between characters as they flow through Shakespeare’s rhythm.
The ending’s heartbreak is heard in the aching voice of Romeo and the frustrated tone of Capulet. Under the new medium of audio, listeners can hear the subtle movements, envisioning Romeo over Julieta, and then Julieta over Romeo when miscommunication leads to death. The overwhelming sadness depicts every lip quiver and tear over a loved one’s body without having to see it. The subtle cries are played against dripping pieces of limestone. They share their love, their last final kiss, directly into your ears.
Romeo y Julieta is an intimate encounter with the well-known tragedy of star-crossed lovers. The balance of Spanish and English pulls you in, following the same conventions of Shakespeare. Hearing the voices of spectacular actors pull together the story of the play brought me back to the experience of performing and viewing Shakespeare’s work. Every bit of emotion is upheld in the voice and soundscape. The audio of party clamor and rustling greenery in Romeo y Julieta swells over voices of the couple professing a love they never knew possible. The racket ends and it goes silent, until it calls out once again “¡O Romeo, Romeo!”
Romeo y Julieta can be heard wherever podcasts are found with details and additional resources to enhance the listening experience here.