Two households, both alike in dignity,

In fair Verona, where we lay our scene,

But hark, I do spy… an airship? Cogs,vests, and women leading the fighting fueders! Indeed, Chesapeake’s uniquely steampunk interpretation of Romeo and Juliet leaves the audience pondering Shakespeare in a whole new light.

Shakespeare’s classic and often performed tragic love story has been wholly reimagined by Chesapeake. While the original tale features some female roles, this production shifted many of the principal leads to be played by women. This resulted in many nuanced performances, that despite the swapped gender, did not deviate from the established exegesis of Shakespeare’s work. Exemplifying this characteristic unique to Chesapeake’s production is Benvolio (Hailey Byrd) Benvolio is Romeo’s cousin and close ally, and Byrd brought a level of depth to the character. Her poignant facial expressions and reserved mannerisms, especially in the second act, revealed her tortured nature as she wanted to support Romeo, but disapproved of his forbidden love. Furthermore, the vengeful Tybalt (Karlie Peapos) was another gender bent role. Peapos displayed a fierce and aggressive attitude towards the affair between Montague and Capulet, and her brisk movements displayed a very irascible character, always ready to battle her enemies. Mercutio (Brandon Reichert) remained the original gender, however his character was portrayed in a distinct and animated manner. Reichert flamboyantly bounced across the stage, with a key sense of comedic timing and bit of dry wit that created a very idiosyncratic Mercutio, who seemed to be a real and multifaceted person. Even should the ensemble experienced a drop in energy towards the end of a scene, Reichert meandered across the stage, garnering laughs from the audience and reinvigorating the entire scene. Lastly, Friar Lawrence (Lilith Short) was an exemplar product of Chesapeake’s vision, with Short shining as a holy “father.” As advice and wisdom rolled off her tongues, Short transitioned from nonchalant to distressed instantaneously, and used the inflection of her voice to carry her emotions through.

In order to complete their transformation of Romeo and Juliet, Verona was transformed into an industrial metropolis; the streets where scuffles and discussions take place became futuristic victorian milieus, with cogs and gears hanging from set pieces. Caskets and homes were hues of gray and yellow, emanating a feeling of technology and factory working.

The costuming and makeup garbed the players in fanciful and exotic sci-fi outfits, driving home the steampunk theme. Sequined corsets, knee high military boots, top hats and more all decorated the players and gave the age old tale an unorthodox and refreshing interpretation.

Chesapeake’s reimagination of Shakespeare’s age old play resulted in an avant-garde production. Everything here seemed groundbreaking, and the stereotypes of boring verse and drab setting were smashed to bits.

As the show closed, a single spot fading on the two dead lovers, the audience was left in awe, transported to and fro steampunk Verona thinking,

Good night, good night! Parting is such sweet sorrow

That I shall say good night till it be morrow

by Logan Kelly of Annapolis