![]() ![]() Beneath Gareth Fry’s low growl of a soundscape, the company gathers one by one to claw against it before sending it crashing to the ground. The famous opening address about “two houses alike in dignity” is not spoken: The text is lit up on the wall covering the entire front of the stage. The fact that the rulebook is being rewritten is made plain from the get-go. The intensity she engenders in her actors is sometimes ramped-up too highly and everything boils over, but at its finest, the fiercely articulate passion is electrifying. ![]() Her startlingly visceral production, with a cast led by Toheeb Jimoh of “Ted Lasso,” is not only lit up by the power of bodies leaping in space and dramatically alert even when in repose it’s also alive to the detailed drama of Shakespeare’s language. Having the audacity to harness stabs and slashes of Prokofiev’s celebrated ballet score for “ Romeo and Juliet” for a production of Shakespeare’s play suggests remarkable confidence on the part of white-hot director Rebecca Frecknall. ![]()
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