STAGE Anarchy in Verona Romeo & Juliet The first clues that you’re not going to see the same old Romeo & Juliet at Resurrection Theatre come from the graffiti-covered walls, the Mohawkand-leather attire, and most notably, the ’70s soundtrack. Welcome to Willie-goes-punk, with sword fights and love scenes punctuated by music from the Buzzcocks, the Clash, Iggy Pop and Television. by Patti Roberts Director Nina Collins embraces her selfproclaimed love of the ’70s edgy alt-genre by incorporating the punk-rock scene into Shakespeare’s classic tale of star-crossed lovers. Before you go all “uh-oh,” the concept makes total sense: rebellious teenagers flaunt societal mores. OK, there’s more to Romeo & Juliet than that, but Collins makes the story entertaining and accessible, while at the same time cutting it down to 90 minutes.
Overall, this punked-out production shows off the emergence of Resurrection Theatre as a major player in the community-theater scene, attracting talented local directors and actors while embracing and taking on challenging plays and making it their own. Rock on. Ω
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Romeo & Juliet: 8 p.m. Friday and Saturday, 2 p.m. Sunday; $12-$15. Resurrection Theatre at the Artisan Theatre, 1901 Del Paso Boulevard; (916) 838-0618; www.resurrectiontheatre.com. Through March 17.
4 PHOTO BY GREG ADAMS
Nope, it’s not sunrise. It’s just Romeo’s hair.
1 FOUL
2 FAIR
3 GOOD
4 WELL-DONE
5 SUBLIME-DON’T MISS
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Let’s get to the all-important make-or-break of a Romeo & Juliet production: Do the lead actors pull it off? The answer is yes, both as lovers and punkers; Brennan Villados in his shocking-pink hair conveys both toughness and tenderness, while Lia Rose, in her combo pixie haircut and old T-shirt, combines sassiness with sweetness—and together they sizzle. The other aspect of this production is the revision of the familiar tale. Collins takes chances that succeed with a gender-bending Mercutio (a mesmerizing Elizabeth Holzman, who is scarily good with a butterfly knife), a feisty Earth-mother nurse (an arresting “don’tmess-with-me” Tara Henry), a minimalistic set (construction scaffolding and graffiti walls and floors—kudos to set designer Brian Watson) and the ultra-modernistic approach, both in sensibility and in costume (another nod to the very creative and period-accurate costume designer and team). The whole team is noteworthy—cast, crew and director. Collins also is daring in the paring down of the script to an hour and a half, no intermission. This trimming comes with both a payoff and a price. It’s fast, furious and fun, with lots of action from ping-ponging fight and love scenes, but some of the societal tensions and emotional pulls are missing.
History in music
Legacy II: We Come From Greatness
This ever-evolving show—an annual effort by Images Theater Company—attempts nothing less than a panoramic view of AfricanAmerican history, in just two hours. Under writer-director Lisa Lacy and musical director Charles Cooper, the show first took shape back in 2004. Some early elements still carry over, including Bill Miller’s performance of “I’m a Man.” Originally, Miller sang it as a janitor, broom in hand. The broom is now gone, but Miller (who radiates personal presence) still sings with dignity and righteous anger at injustice. A newer element is Elaine Douglas in a gutsy, moving scene as The Bones Keeper, who endeavors to remember the countless unnamed individuals brought to America in chains, many of whom perished at sea onboard slave ships, their bones littering the ocean floor. We also glimpse cruel plantation life; segregated seating on a train; a grisly hanging tree; the fury of Emmett Till’s mother (mourning her murdered 14-year-old son, who allegedly flirted with a white woman); and the assassination of civil-rights organizer Medgar Evers. There are upbeat moments, too—a nightclub scene recalls entertainers Cab Calloway, Ella Fitzgerald, Fats Waller and Billie Holiday; a 1960s scene recalls Martin Luther King Jr., Malcolm X and Black Panther Huey Newton. And, of course, there’s the election of the first African-American president, plus a soulful, rousing finale with 12 actors and a lively four-piece band. This continues to be an emotionally uplifting show. It has also become a valuable community institution. Charles Cooper’s music impresses year after year, and there are many figures from history yet-to-be-included (including pioneering singers like Sister Rosetta Tharpe and Marian Anderson). I look forward to Legacy each February; hopefully, this local evergreen will be with us for years to come. —Jeff Hudson
Legacy II: We Come From Greatness: 8 p.m. Friday and Saturday, 3 p.m. Sunday; $12-$20. Images Theatre Company at the Guild Theatre in Oak Park, 2828 35th Street; (916) 428-1441; www.imagestheatre.org. Through March 4.