The Wurtele push level with the Minneapolis Guthrie theatre was transformed into a Disneyesque Italian mountaintop community world, beautifully made with film-set care by Anna Louizos. Inside comprehensive generation records , Louizos claims that she’s knowingly evoking walled isolation and generational civil dispute. The resulting put conjures a visual picture of a “restrictive and repressive industry” with unusually exact materiality. This microcosmic Verona, including walled stairways, towering medieval window-lit dwellings, and a clock and bell tower that looms since the main menacing representation of power, offers a National Geographic specificity to Joseph Haj’s Romeo and Juliet.
Created throughout the Wurtele’s revolve, the town rotates in tandem using clock-face dials to reveal a meticulous pre-Raphaelite Juliet bedchamber, a common material balcony, or Friar Lawrence’s monastic chambers. The main performing neighborhood is ruled to start with by a practical font-shaped water fountain that gently mushrooms in watery reality. Trapdoor systems allow this fountain to-fall under the phase, abandoning a hexagonal, slightly-raised system which sooner holds the resting-place tomb of Juliet. Three lower-level gates are located when you look at the ready, though these manage just incidental because most entrances and exits occur through downstage right and leftover market accessibility details.
Stan Demidoff (Tybalt) locks swords with Lamar Jefferson (Benvolio) inside the foreground of Romeo and Juliet. Image by Jenny Graham.
If the Guthrie movie theater’s Romeo and Juliet seems pre-Raphaelite inside it perspectival verisimilitude, then it becomes decidedly postmodern in directorial conceit. (more…)