The story of star-crossed lovers is arguably one of the most recognizable and accessible of the Bard’s plays. And now at the Folger Theatre, Raymond O. Caldwell directs Romeo and Juliet with bold ambition and imagination. Known for his work as artistic director of DC’s Theater Alliance, Caldwell brings fresh energy to this production, reminding us that every generation must engage anew with these works. While this is not a traditional Romeo and Juliet, Caldwell’s interpretation seizes the current political and cultural climate, offering a strikingly relevant, modern lens. His staging features projections of key political figures reimagined through AI-generated iambic pentameter, bringing the timeless family feud into the context of today’s political polarization. It’s a bold move, one that risks alienating Shakespeare purists but succeeds in evoking the sensory chaos of the world we live in. Caldwell’s vision gives the play new layers of complexity, using technology and contemporary politics to heighten the sense of conflict in a deeply divided society. The cast of ‘Romeo and Juliet.’ Photo by Erika Nizborski. From the very first scene, the stage pulsates with energy, driven by a dynamic soundscape of techno beats and AI-driven orations. While the sensory overload may feel like a lot at times, it mirrors the chaos and disarray of our political moment, creating a heightened backdrop against which Romeo and Juliet’s love story unfolds. The choice to immerse the audience in sound and image might not be for everyone, but it speaks to Caldwell and the Folger Library’s commitment to shaking up conventional Shakespeare, demanding our attention and forcing us to consider the timeless relevance of the play’s themes. Caldwell’s incorporation of technology is especially striking in the way he uses modern devices like cell phones and social media onstage. No spoilers, but this leads to one of the funniest line readings of “Romeo, wherefore art thou Romeo” that I’ve experienced coming out of this play. It was wonderful watching the initial meeting of the Capulets and Montagues playing out like a TikTok challenge. At the heart of this production is a reimagining of the Montagues and Capulets as two culturally and linguistically distinct families. Caldwell’s decision to weave Spanish into the text gives the play a multilayered depth that speaks to the diversity of today’s world. Some moments feel experimental — switching between languages mid-scene — but this fluidity reflects the lived reality of many in a multicultural society. It’s a clever way of underscoring the “otherness” that fuels the hatred between the families while adding a new richness to the world of the play. It’s clearest in the family dynamic of the Capulets. Todd Scofield plays Lord Capulet as a gruff, pompous politician with a heavy Southern accent (bordering on caricature but effective here). The rest of the Capulet family are primarily Spanish speak Caro Reyes Rivera as Juliet and Cole Taylor as Romeo in ‘Romeo and Juliet.’ Photo by Erika Nizborski. Caro Rivera Reyes as Juliet and Cole Taylor as Romeo also offer performances that bring a modern edge to their characters. Rather than depicting the young lovers as wide-eyed innocents, Caldwell’s interpretation shows us young people who are already scarred by the world they inhabit. Juliet’s flirtation with drugs and Romeo’s reliance on alcohol may challenge traditional interpretations, but these choices highlight the disillusionment of today’s youth, grounding their love story in a more contemporary reality. Despite their flawed beginnings, the actors succeed in building an intense, visceral connection, culminating in a final act that is as devastating as ever. Reyes’ Juliet is a fiery, complex young woman, far from the naïve child of Shakespeare’s original. Her performance brims with emotional energy, and while her rapid-fire delivery occasionally causes her to stumble over the text, it’s clear that she brings deep passion to the role. Similarly, Taylor’s Romeo is an understated yet nuanced portrayal. He brings a vulnerability to the part, giving us a Romeo who feels entirely human, grappling with the pressures of a world spiraling out of control. Their chemistry is palpable, making their eventual demise all the more heartbreaking. The supporting cast shines in this production, especially John Floyd as Benvolio and Brandon Carter as Friar Lawrence. Floyd’s portrayal of Romeo’s loyal friend is deeply sympathetic, while Carter’s turn as the Friar adds a layer of complexity often overlooked in the character. Clad in a sequined preacher’s outfit, Carter’s Friar oscillates between pious counselor and manipulative plotter, ultimately playing a pivotal role in the lovers’ fate. These performances ground the production in the Shakespearean tradition, even as the production pushes the boundaries of that tradition. The visual and auditory landscape of the show, crafted by an accomplished design team, creates an immersive experience. Jonathan Dahm Robertson’s set, combined with Kelly Colburn’s ambitious projections, plunges the audience into a near-futuristic world that feels unnervingly close to our own. Alberto Segarra’s lighting design further amplifies this sense of urgency, while Matthew M. Nielson’s sound and music composition keeps the production moving at a fever pitch. While the multimedia elements sometimes threaten to overwhelm the quieter moments of Shakespeare’s text, they succeed in framing the play’s themes in a distinctly 21st-century context. Cole Taylor as Romeo and Caro Reyes Rivera as Juliet in ‘Romeo and Juliet.’ Photo by Erika Nizborski. Caldwell’s Romeo and Juliet may not be what audiences expect, but that’s precisely what makes it so engaging. By leaning into experimentation, with technology, language, and embracing the messiness of the modern world, he delivers a production that feels fresh and urgent. It’s a reminder that Shakespeare’s works are not relics of the past, but living, breathing stories that speak to the present — and perhaps more importantly, the future. This is not just a retelling of a love story, but a reflection on the anger, disillusionment, and fractured society that today’s youth must navigate. Caldwell’s vision is big and bold, and while not every choice lands perfectly, it’s a production that sparks conversation, pushes boundaries, and invites us to see Shakespeare anew. In a world where theater is grappling with what direction for theater to take, Folger Theatre’s Romeo and Juliet is committed to creating a vibe: one that is fun, different, contemporarily relevant, while acknowledging the flexibility of the classical rules. Wait, let me fix that last paragraph: In the theater world, where paths are yet unclear, Folger’s Romeo and Juliet embraces fun, a mood both fresh and new, And bends the classic rules to fit its view. Running Time: Two hours and 40 minutes with one 15-minute intermission. Romeo and Juliet plays through November 10, 2024, at the Folger Shakespeare Theatre, 201 E Capitol Street SE, Washington, DC. To purchase tickets ($20–$84, with many discounts available), go online or call the Box Office at (202) 544-7077. To see credits for the cast and creative team, click here. The complete playbill is available here. COVID Safety: While Folger audiences and employees are no longer required to wear masks at most events, masks are welcome and remain an important preventive measure against COVID-19. Anyone needing or choosing to wear one is encouraged to do so. SEE ALSO: Folger Theatre opens its 2024/25 season with ‘Romeo and Juliet’ (news story, September 6, 2024) What’s new at the Folger Shakespeare Library? A theater lover has a look. (feature by Eric Colchamiro, September 3, 2024)