Victory of ‘Romeo and Juliet’ Is in the Tragedy

Shakespeare’s magical tale of love and tragedy in Verona, about the foolish vendetta between two families and the disastrous result of their hatred on the lives of young Romeo Montague and Juliet Capulet, is ageless. Its cautions and wisdom speak as strongly today as they did 400 years ago.

“Romeo and Juliet” doesn’t need outside help. The story is simple, its characters so real it sometimes hurts, the momentum of the drama so powerful it can’t help pulling an audience along.

Director Donn Finn, in his staging at Cal State Fullerton’s Little Theatre, knows this and pumps in energy and empathy with a sure hand. Particularly notable are the scenes between the young lovers and the affecting encounter between Juliet and her father when she refuses the hand of Lord Capulet’s choice of husband, Paris.

The casting of Romeo and Juliet is of prime concern. There must be electricity between them, and there is here. Stephen Ohab’s Romeo is boyishly correct, particularly when, hanging from Juliet’s balcony, his legs uncontrollably shiver and shake in giddy delight. Ohab keeps this winning quality throughout, making his final fatal actions even more touching.

The production in this case, though, belongs to Christy Zollar’s Juliet, a deliciously insightful portrait of a young girl not only stunned but also delighted at her discovery of overpowering love. Zollar, in her fluid movements and poetic physical poses, looks as though she just stepped out of a pre-Raphaelite painting. The rich emotional tones of her delivery give Shakespeare’s dialogue added depth and sincerity.

Most of the supporting cast is as on target. Forrest Robinson’s fatherly but starchily officious Capulet is notable, as is the aggressive but also very submissive Lady Capulet of Miranda Hawk. In a successful departure from the usual casting, buxom blond Melodie Henderson plays Nurse as almost a good-time girl, very understanding of Juliet’s plight.

Kristian Nelson as the vicious Tybalt, Ramsey Nunn--calm, self-effacing Friar Laurence--and Ryan Jacobson as the stalwart Benvolio all contribute solid performances, as does Justin Walvoord as the desperately commonplace Paris.

Joshua Levey’s illiterate Peter adds several highly comic moments, and one of the highlights is Michael Serna’s robust, brutishly poetic Mercutio.

Finn’s concept, costumed beautifully by Bruce Goodrich in an odd, eclectic design from numerous periods (including early 19th century dresses and more recent fascist-type uniforms) makes no statement about the text, nor does it evolve from the text. He tries to make it pertinent by having the Capulets, in the opening scene, speak Spanish, as though Shakespeare had derived his plot from “West Side Story,” but, as Lady Capulet firmly states that they are in Verona, the barrio flavor is irrelevant and misguided.

* “Romeo and Juliet,” Little Theatre, Cal State Fullerton, Nutwood Avenue and State College Boulevard. Wednesday-Friday, 8 p.m.; Saturday, 2:30 p.m.; Sunday, 5 p.m. Ends Sunday. $8. (714) 278-3371. Running time: 3 hours, 15 minutes.

Stephen Ohab: Romeo

Christy Zollar: Juliet

Michael Serna: Mercutio

Forrest Robinson: Capulet

Miranda Hawk: Lady Capulet

Melodie Henderson: Nurse

Ryan Jacobson: Benvolio

Ramsey Nunn: Friar Laurence

Justin Walvoord: Paris

Joshua Levey: Peter

A Cal State Fullerton Department of Theatre and Dance production of Shakespeare’s tragedy. Directed by Donn Finn. Scenic design: Barbara Braden Meyer. Lighting: Susan Hallman. Costumes: Bruce Goodrich. Sound: John Fisher. Makeup/hair design: Deanna Myles. Stage manager: Richard R. Chapin II.