Roméo et Juliette @ State Theatre 2/10 It’s hardly surprising that a tale of young star-crossed lovers would prove to be successful in a variety of venues. It’s even possible that Shakespeare didn’t create the most famous version, after all. He may, or may not, have based his highly successful play on a pair of real-life young Italians who lived a few centuries before the he was born.

An abundance of musical versions have followed; operas, ballets, a symphony or two, and the extremely popular Broadway musical that then became a film, known as West Side Story. This latter was possibly more true to the real story, giving equal credence to the violence and mortality as to the love story. I know it’s traditional to tout the story as a Valentine’s Day treat, but considering the death toll it carries with it, I think a story with a happy-ever-after ending might be more appropriate. (Just maybe not as realistic, considering what happens after the marriage!)

Nevertheless, Cleveland Opera has once again brought out the Gounod opera for it’s mid-winter showpiece. Roméo et Juliette was an instant success following its debut in 1867, and continues to be a mainstay of the repertoire. The music is tuneful, lush and romantic, and the four love duets provide ample evidence of the power of love.

Colorful costumes from Malabar, Ltd., combined with impressive choreography by Hernando Cortez of Verb Ballets, to establish the festive atmosphere of Juliette being presented to the Veronese society by her father. The set—an X-shaped, multi-level arrangement of pillars, scaffolding and platforms—assisted by scrims and chandeliers worked well for the various locations needed. Lighting by Cynthia Stillings enhanced the action, whether gloomy or bright. The abundant fight scenes (all those young men, after all!) were expertly choreographed by Michael Jerome Johnson.

This production is blessed with singers who not only look the parts, but are also good actors and singers. As the young lovers, Laura Pedersen and Gran Wilson were visually appealing and their voices blended beautifully. Daniel Narducci as Mercutio, Fenlon Lamb in the trouser role of Stephano and Charles R. Austin as Frère Laurent were splendid, adding nuance to their parts. Local favorite William Powers was the proud father Capulet, who unwittingly set the tragedy in motion by proposing a different swain—(Paris, sung by Todd Boyce) for his daughter, Juliette.

At times, it seemed that director Nicholas Olcott was trying for a sit-com sensibility. This was true especially in the ‘morning after’ scene where the young lovers have their first tiff—is it a lark? No, it’s a nightingale, and so on. The laughter seemed almost inappropriate, given the seriousness of the story.

Guest conductor Gerhardt Zimmermann kept the pacing steady, and the orchestra sounded terrific. It seemed a bit larger than usual, and for a change, I didn’t detect any amplification. The chorus, prepared by Betsy Burleigh, was in good voice as the members bustled around the stage as busy guests, servants and the like. This production is sung in the original French with projected English subtitles.

Two more performances are scheduled: Friday, February 17 and Saturday, February 18. For tickets or information, visit: http://www.ClevelandOpera.org, or by phone at Tickets.com (216) 241-6000 or 1-800-766-6048, or at the Playhouse Square Box Office, 1519 Euclid Avenue.

From Cool Cleveland contributor Kelly Ferjutz hidden-email:negfjevgre@nqrycuvn.arg? (:divend:)