In this updating, swords are exchanged for guns and characters swig from beer cans and coffee cups and chew on Twizzlers.
The atmosphere is vibrant and pulses with energy as the characters laugh, dance and even play music.
(1935) Shakespeare’s timeless tragedy of the “star-cross’d lovers” Romeo and Juliet and their warring families has stirred the imagination of countless composers.
Unlike a traditional concerto, in which the movements are typically arranged fast-slow-fast, Prokofiev's concerto inverts that arrangement: the outer movements are of moderate tempo — for example, the composer described the ravishing opening as "pensive" — while the central Scherzo is a non-stop motoric display of jaw-dropping fireworks, including left-hand pizzicato passages and dizzying glissandi.
The Moderato finale ends this 20th century classic ethereally, quietly, dreamily.
When Romeo puts himself in danger by climbing over a stone wall to reach a Capulet family garden where he can catch a glimpse of Juliet, she warns Romeo – twice – that her kinsmen will kill him if they find him alone with Juliet in the family compound.
Romeo says he doesn’t care, “I have night’s cloak to hide me.” Director Rob Salas has pruned the script in places, presenting many scenes in tight closeups, and staging the play in a story-circle fashion, each scene flowing directly into the next.
Listen to the hothead Tybalt, drawing his sword as he describes the revulsion he feels when he hears the name Montague.
As Tybalt puts it, “I hate all Montagues, and thee.” And then a duel begins.
Fourteen years later, Leontes rules the land with an iron fist and crushes anyone who opposes him.
Juliet, now sixteen, fights against House Montague's oppression as the masked vigilante "The Red Whirlwind".
Juliet, played by Bree Ogaldez, is wholesome and full of a joie de vivre.