Romeo and Romeo

A timeless tale, but a very unusual interpretation. Even the title is misleading.

For any fan of William Shakespeare, a chance to see the classic tragedy of "Romeo and Juliet" performed live is exciting. Unfortunately, Buffalo United Artists' production of "Shakespeare's R+J," a non-traditional adaptation of the text by Joe Calarco, ultimately disappoints.

Expectations of fancy costumes, articulate accents - and of course, legendary romance - are undeniably present as the Irish Classical's Andrews Theater plays host to the production, which runs through Sept. 28.

A surprise is levied by the poster, which shows two men in a close position, almost a longing embrace. Assuming the players must be attempting an all-male Elizabethan-style performance, the audience awaits a very fulfilling - and surprising - show.

As the house lights darken, the stage lights slowly start to focus on four actors, dressed in khakis and sweater vests, appearing to be students of a private school. It doesn't take long to realize that the actors are playing up an unexpected angle - they are gay.

A lack of sets, props or costume changes makes it difficult to become absorbed in the production. The entire cast plays all of the roles in the Shakespearean text. Eric Rawski, Chris Kelly, Matthew Hurley and Timothy Patrick Finnegan share the stage, as well as some spit-swapping kisses.

The play commences in a school, with the men praying, reciting mantras and becoming more than a little nervous and excited between each buzzing bell. After a few traditionalist frightening minutes in which the action onstage has nothing to do with "Romeo and Juliet," the foursome begins to pass around a copy of the play, reading it and laughing as they go along.

Over-acting and adding humorous faces and movements to the lines, the cast puts a creative twist on the sometimes-indecipherable language. Since each actor plays more than one role, it is difficult to judge the actors' performances as individual characters. The roles of the Greek chorus and other parts are spoken in unison as well, which adds to the difficulty.

Once the ball gets rolling though, the lighting changes with the mood or tone of the scene, and the students begin to take their "work" seriously.

The adaptation follows the text closely, but the actors sometimes humorously fumble their lines only to start them over. Due to the play-within-a-play concept, the setting often switches, and the characters appear to be just kidding around, sometimes even mocking Shakespeare's masterpiece.

The four students transform into actors and become very absorbed into their scenes, only snapping out of it by the end of each scene, exchanging strange looks, and appearing to wonder why they are taking it so seriously.

Other than the universal setting of the black box-like stage, the only prop used is a long piece of red fabric. The characters are very creative with the piece, using it as everything from a weapon to a curtain, scarf, a blanket and whatever else necessary. This is the best adaptation within the modern interpretation of the play, although the creative use of clapping and other manual percussion is also successful in setting the tone.

It is evident that a mutual lust begins to develop between the students, who pretend that they are only reciting lines and playing roles. It is nearly impossible to count the number of times the blonde-haired students (Rawski and Kelly) kiss within the play. This theme is reinforced when the remaining two students (Hurley and Finnegan) become uncomfortable with the long kisses the others share.

Although it is worlds apart from the traditional method of performing Shakespeare, it is interesting and commendable that the actors tackle the difficult task of playing the roles in an unconventional way.

There are times when they have the audience rolling with laughter, jumping about with behavior similar to the character Jack MacFarland in popular sitcom "Will & Grace."

To be star-crossed lovers - with feuding families - can be comparable to a gay couple that receives criticism and prejudice for being together. It seems that Calarco, who adapted the play, and Kelli Bocock-Natale, the play's director, are drawing a parallel between the hardships that both Romeo and Juliet and homosexual couples face.

Both relationships are taboo, and having only male actors puts an incredible twist on a sometimes less-than-thrilling rendition.

"Shakespeare's R+J" is onstage the Andrews Theatre, at 625 Main St., through Sept. 28. Tickets range from $10 to $20, with student discounts available.