Fiddling with Shakespeare is a common occurrence. Finding ways to invigorate a four century-old script can lead to some interesting choices. Adaptor Tim Hart and Director Randi Klein have taken a "contemporary-into-classic" approach to The Ensemble Theatre's presentation of the romantic tragedy of Romeo & Juliet. 10 actors in modern dress begin "playing around with" the script, and shape their modern personas into the characters of a very revised version of the text. They slip out of their modern dress and slowly take on the garb, attitudes, vocalizations, and characters of Shakespeare's creation. I'm pretty sure that this was done to allow the audience to gain greater empathy by connecting first with modern people before launching them into Renaissance characters. However, the execution of this opening section is not very believably presented. The "let's rehearse now" attitude is never fully vested, and the playfulness that leads to conflict is heavy-handed and telegraphed. As the characters are being set and established, the naturalism attempted in the vocal presentation throughout this time means a lot of slurred lines and missed opportunities. We are not given enough time to get to know each of the modern ensemble so that we can equate a direct link with their Shakespearean character, and we only develop our empathy for them once they begin their classic performances. Ironically, it is as the modern concept grafted onto the beginning is shed that the performance really begins to take shape.

Ms. Klein seems to believe that all Veronans are a noisy bunch; once you get beyond the two leads, the performers are generally playing it operatically. Even Jamie Israel as Romeo and Ashley Lamont as Juliet are prone to more histrionics than most. When the ensemble isn't laughing loudly or brawling with bravado, they are wailing pitifully at their travails. However, while this tends to be a bit distracting, it only strips away potential shading and doesn't stop the audience from connecting with the players as badly as one might think. The blocking is energetic, and Mr. Israel and Ms. Lamont are charming enough to overcome the rowdy background.

The strongest of these two is Ms. Lamont, whose believable transition from giddy girl to woman in love is excellently portrayed. Her playfulness smoothly morphs into a fumbling attempt at maturity and intrigue. Mr. Israel does not have as strong a character arc, doing a great job of playing testosterone-driven at the beginning, but never quite achieving his final maturity on his return to Verona. His is more of a stubborn, rather than heroic finish.

Shawn Alan Murphy is too angst-ridden a Tybalt, with an energy level and voice set to 11. Barry Finnegan is an equal firebrand as Mercutio. He has a lot of verve, but is lacking in some of the tenderness for his liege Romeo, and his entire Queen Mab speech is delivered in a near strangled scream. Countering this is Krishelle Whiting as a saucy nurse who does an excellent job at balancing her character's passions. This is not the case for Richard Wells, who plays both Lord Capulet and the Prince like men desperately in need of anger management training. Better are Roy Major as Friar Laurence and Jennifer Watson as Lady Capulet, who give more measured presentations. Justin Decker is a rather subdued Benvolio, and I can't honestly remember Rae Williams in any of her four roles.

Tim Hart's set follows the theme of the show, with classical settings and hints at modern supports. Pete Bish's lighting is able to accommodate both a general wash and important specials, while his sound design is solid. The costumes for both eras are accurate.

The theory for the concept applied to this show is intellectually appreciable, though it is ineffective in production. Once the show slips into the textually truer era, while a bit heavy on the emotional presentation, it becomes a solid production of a timeless classic.