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[0:00] Jeff Malone: Welcome to Half Hour with Jeff and Richie, the podcast where we explore the latest shows we see, sharing our insights and opinions on the performances and everything in between.

[0:09] Richie Grasso: In today's episode, we're discussing the 2024 Broadway revival of Romeo and Juliet, currently playing at Circle in the Square in New York City.

[0:16] Jeff Malone: Whether you cannot catch the show in person or you want to expand your thoughts after seeing it, this episode is for you.

[0:21] Richie Grasso: And as always, we want to inform you that this episode will contain spoilers.

[0:25] Jeff Malone: So if you're ready to dive into this production, stick around with us.

[0:28] Jeff Malone: I'm Jeff.

[0:29] Richie Grasso: And I'm Richie, and we're thrilled to be your hosts for this episode.

[0:31] Jeff Malone: But before we start the conversation about Romeo and Juliet, here are a few words from our advertisers.

[0:46] Richie Grasso: Welcome everyone to a new episode of Half Hour with Jeff and Richie.

[0:49] Jeff Malone: Today we're discussing the Broadway revival of Romeo and Juliet.

[0:53] Richie Grasso: As the saying of this revival goes, the youth are blank.

[0:53] Jeff Malone: Flank.

[1:01] Richie Grasso: Left to their own devices and their parents' world of violent ends.

[1:04] Jeff Malone: An impulsive pair of star-crossed lovers hurtle towards their inescapable fate.

[1:09] Richie Grasso: The intoxicating high of passion quickly descends into a brutal chaos that can only end one way.

[1:14] Jeff Malone: Emmy Award winner Kit Conner and Golden Globe Award winner Rachel Zegler star in Romeo and Juliet in Tony Award-winning director Sam Gold's visceral and visionary production.

[1:24] Richie Grasso: Shakespeare's timeless tragedy now belongs to a new generation on the edge.

[1:29] Jeff Malone: All right. So we're gonna give our hot take on the 2024 Broadway revival of Romeo and Juliet.

[1:35] Richie Grasso: And you're gonna go first.

[1:37] Jeff Malone: Okay. I found this revival of Romeo and Juliet to be so fresh and revitalizing that I almost forgot that I was watching such an old play because of the modernization and concept that most of the time seemed to work very, very well.

[1:55] Richie Grasso: And I thought it was visionary for a new generation to come into the theater and experience a timeless piece like Shakespeare's Romeo and Juliet.

[2:02] Jeff Malone: Yeah, my hot take on this is that this type of theater is the type of theater that is gonna keep Gen Z and beyond coming back to Broadway.

[2:13] Richie Grasso: Totally.

[2:13] Jeff Malone: And let's dive into that.

[2:15] Richie Grasso: Yeah, let's do it.

[2:16] Jeff Malone: So talking about overall thoughts on plot and concept. Listen, we all know Romeo and Juliet. It's a passionate love story about feuding families that ends in tragedy.

[2:25] Richie Grasso: I've never seen, I've never heard anything about Romeo on TV.

[2:28] Jeff Malone: Oh, really?

[2:29] Richie Grasso: I mean, there, you know, what West Side Story did to the tale was pretty epic and incredible.

[2:35] Jeff Malone: Uh, it was, oh my gosh, so it's still so good.

[2:39] Richie Grasso: Um, but then you see Romeo and Juliet back on Broadway, and you're like, okay, and yes, with Shakespeare being something that it's in public domain, anybody can do anything with you, can change the time period, you can cut scenes, you can edit the scenes through, you know.

[2:55] Jeff Malone: This was a shortened version of it. Usually, it's much longer. You get the plot through, you know, through shortening it.

[3:02] Richie Grasso: Um, but you were submerged. We, you know, I always say some of the best shows go in Circle in the Square Theater because you take literal escalators down underground.

[3:13] Jeff Malone: So you submerge yourself, and the lobby is a club feel, and you feel like you're in a Gen Z club environment, and you go into the theater, and what's happening?

[3:23] Richie Grasso: Young people on stage doing you name it. Young people being young people in the modern day doing young people things, like you would see in the movie, uh, what's the HBO TV show we used to watch?

[3:37] Jeff Malone: Like Euphoria.

[3:38] Richie Grasso: Yeah, Euphoria or the other one.

[3:40] Jeff Malone: There was the other one, Generation.

[3:42] Richie Grasso: Yeah. There's, you know, and you're seeing young people, and we, it immediately reminded me, oh my gosh, this is the play about young love, young people. This is that play. Of course, this would be the concept of this. It makes total sense.

[3:56] Jeff Malone: Yeah. I mean, I feel like this is probably what next to Hamlet, probably the most known Shakespeare piece. Those are the top three for me, anyway. I mean, of course, there's many others, but yeah.

[4:11] Richie Grasso: And I find like we come back to a piece like this, and yeah, when you talk about young love and you talk about these families, which obviously we saw in uh West Side Story, they, their take on that was uh gangs, and seeing this in this more like younger present day kind of scenario, like I don't know, it worked.

[4:38] Jeff Malone: It worked, and there was this wonderful incorporation of like a DJ, yeah, playing music throughout, and they would reference the DJ, and then you know, Gabby Bean's character kind of at times was a little bit of a narrator for us and would kind of say things like, now we're doing this. Now it was reminding us that we're in the theater.

[4:54] Richie Grasso: Listen, putting it in the round made complete sense. Shakespeare in the round works always. I'm sorry, I'm just gonna say it. You put a Shakespeare piece in the round, it's always gonna feel like it works because you feel like you're in on the action, yeah, you know, and I think a big thing too is to kind of remember like we're keeping Shakespeare alive, number one.

[5:13] Jeff Malone: Number two, Shakespeare's hard, especially for uh as we continue to move so far away from it. Year after year after year, we're moving farther away. Language changes, just understanding of that text is hard.

[5:29] Richie Grasso: And for someone to kind of reinterpret that text, here's a great example. We talked about Sunset Boulevard and like reimagining things or whatever. This I actually find is reimagining Shakespeare. That's the right time to be using something like this because we're helping people understand what's actually happening in the piece.

[5:50] Jeff Malone: And I think that's okay.

[5:52] Richie Grasso: Yeah, and I also think that it was something that for the most part was easy to follow. Sometimes Shakespeare can be really difficult to follow. This made sense.

[6:02] Jeff Malone: I did like the double casting of a lot of the characters. That was kind of cool by putting a jacket on or taking something off. That was very Shakespearean of the time.

[6:11] Richie Grasso: Um, you know, you also had a lot of gender bending of a lot of the roles, whether there was trans representation or there was male identifying performers playing female characters, or vice versa, whatever that was going on. That was very common for the Shakespearean time to uh to have um male playing women's roles and vice, you know that there was a lot of that happening at the time.

[6:31] Jeff Malone: So it makes sense for that to happen here too. The representation was very prominent and important in this, right? And I think that it is in the youth of today, too. We see so much identity representation in the youth of America and the world today.

[6:46] Richie Grasso: How do we identify with pronouns? How do we identify with relationships to people? That is very important to Gen Z and all other generations too. But the way you identify and respect other people's identity is so important in the youth, and that is very relevant and prominent here.

[7:02] Jeff Malone: And that's why I think for this concept, why it's so important that we're bringing this back to the stage is around this word of love. How often do we find that we all just want to love? Like not only love others, but self-love.

[7:18] Richie Grasso: Self-love, yes, but also like who you want to love. Why does it matter who you love? And Romeo and Juliet has always been about that. These families were not allowed to love. How relatable is that to today, where people are telling us who you can love, who you can't love?

[7:34] Jeff Malone: No, there are rules you have to follow. I mean, obviously, it's not families, but there are probably families out there that keep telling their kids, no, like you can't love that person. And so that's what makes Romeo and Juliet so timeless, I think, right?

[7:47] Richie Grasso: I thought I also think what we're gonna get to this, the direction and performances in a little bit, but just the way that the actors moved and flowed throughout the space, the direction of it, the lighting and sound and scenery and costume combination of it all, the lifting of the stage with the flower bed, the bed coming down from above. It's theatrical, it's phantasmical in its own way. It lets you escape into this romantic love, and there were comedic moments too, right? So it was really nice stuff.

[8:16] Jeff Malone: Well, I think it's a good time to move into the direction, the actor performances and design. But before we do that, here are a few messages from those that make this show possible.

[8:24] Richie Grasso: And we're back. So let's get into direction first because you and I tend to be big fans of Sam Gold, so um, and I still am after this production.

[8:35] Jeff Malone: Um, I thought that directing in the round is hard, but this was directed very well in the round.

[8:43] Richie Grasso: It was directed from the rafters to the sides, from the back, uh everywhere you thought like this space was used.

[8:54] Jeff Malone: It was totally used, and Sam does this really great job with his direction of immersing the audience, not just literally in the round, but putting people in different areas of the space and letting you feel like the action is all around you and you are part of it.

[9:10] Richie Grasso: Prosceniums, proscenium theaters, you know, are so new in the history of theater. We forget that proscenium theaters really did. They work for vaudeville, sure. Did they work for gatherings of assemblies in American history or worldly history for hundreds of years? Sure. But the Broadway scene of building so many proscenium theaters, it reminds you how important the Circle in the Square is because it's one of the few spaces that can adapt into a thrust or three-quarter thrust or a full round, and it's really nice to see Broadway shows in the round.

[9:44] Jeff Malone: Well, in the round, it's hard too because you're kind of like automatically like fourth wall broken, like because you're so immersed already. So if that's gonna happen, play into it. And I think that's what Sam did well with this.

[9:56] Richie Grasso: I mean, I would go as far as saying that he had directed and kind of played this as um this is a theater troupe kind of take on it. How we've seen a few directors do recently, like Gabby saying, Okay, hi, I'm Gabby Beans, and like we're declaring that we're actors, and Rachel Zegler's playing Juliet and Kit Conner's playing Romeo, and this one's playing that, and this one's playing that.

[10:28] Jeff Malone: Because of that, I said, Okay, maybe we're going that route that it's supposed to be that they're putting on this production of Romeo and Juliet for us. Cute, love it, brings it in. Like what Our Town actually kind of does is it acknowledges that the actors are putting on the show, right? We talked about that recently. That's how I would look at this production. Maybe I'm wrong, but that's how I took it.

[10:50] Richie Grasso: I thought that Sam's direction and his collaboration with his designers was important. And I do want to talk about another, uh, well, I mean, first of all, there wasn't a ton of choreography in this, but Sonia Tae's choreo, I believe that was the choreographer from Moulin Rouge.

[11:05] Jeff Malone: There's some amazing choreo in the few moments that we have it, yeah, which is really great.

[11:10] Richie Grasso: And then it also ties into the score. There is a musical score here by Jack Antonoff. Jeff is a big Jack Antonoff fan. Jack's worked a lot with Taylor Swift and many other famous people.

[11:20] Jeff Malone: I actually wish there was one more song. I actually kind of was like, why did we not make this a full musical?

[11:28] Richie Grasso: Yeah, because I thought the music that he wrote was great. I think it's very fitting for what we're aiming for with this production.

[11:36] Jeff Malone: I think that the song that he wrote for uh Juliet needs to be put out right now, like yesterday, so that we could start listening to that.

[11:46] Richie Grasso: I mean, he knows how to write a hook, he knows how to write a catchy melody, and putting that in this solidified for me that Jack Antonoff is writing a musical with Taylor Swift.

[11:59] Jeff Malone: Oh, it could be, it could be.

[12:01] Richie Grasso: It would make sense. There was an Easter egg in there. I don't know if you noticed this, but when Rachel is up on the bed, she's reading a magazine and Taylor Swift's on the cover.

[12:10] Jeff Malone: Oh, I did not know. I knew she had a magazine, I didn't know that was Taylor's up on there.

[12:14] Richie Grasso: Wow, okay.

[12:16] Jeff Malone: Um, that's a props designer moment there.

[12:21] Richie Grasso: Yep. But um, I will also say that yeah, Jack is good at what he does. We know that, and I think that these songs that he wrote were nice. I like the incorporation of music into this. Music is very important in young people's lives.

[12:28] Jeff Malone: And I think that that was important to remind us that young people go to clubs and vibe, you know, uh to the song or feel the music. I think it's a big thing when you you're coming down the escalator and Charlie XCX's "Brat" is playing in the lobby.

[12:51] Richie Grasso: So yeah, I mean, it's current, it's fresh. Let's talk a little bit about some of these actor performances here.

[12:58] Jeff Malone: Um, I want to start with Kit and Rachel.

[13:01] Richie Grasso: Young people know who they are.

[13:04] Jeff Malone: Maybe I was mentioning to some people of all different generations who and well, some people, a lot of people are like, who's that? But everyone, a lot of people, I would guess maybe in their 30s or even early 40s and younger, they would know who these people are.

[13:18] Richie Grasso: I mean, people who follow film and theater. A lot of the older people that maybe go to a lot of Broadway shows like the boomer generation or senior citizens stuff may not know who they are, but they are up and coming impressive award-winning actors.

[13:29] Jeff Malone: Um, it's funny. I also don't know if this production as a whole really is for those generations. I mean, they're probably the ones that can afford to see this, but I don't know if this piece is for them.

[13:42] Richie Grasso: It's interesting, also, too, though, that you have someone like Rachel who played the Juliet character, Maria in the West Side Story film, and now she's playing Juliet here. Her, she was most captivating to me at the end with the death. I was very, very impressed with her at the end.

[13:55] Jeff Malone: And I was like, oh, she's giving acting here.

[13:57] Richie Grasso: Well, both uh Kit and Rachel's performances, I thought were uh they exceeded my expectations of how they were gonna play these roles.

[14:08] Jeff Malone: Totally.

[14:09] Richie Grasso: They definitely did, and I think that Sam gave them some really great director choices that set the scene kind of for iconic moments, you know, when you have Kit running down the aisle, jumping up on that bar, lifting himself up to give um Juliet a kiss.

[14:32] Jeff Malone: It's just like, oh, okay, that's filmic. And yet it also plays into the like typical classic Juliet is on a balcony, Romeo, Romeo, wherefore art thou Romeo, and there he is looking up at her. Why remove something so iconic from a piece that has been around for hundreds and hundreds and hundreds and hundreds of years? But when you look at something like that scene, that's where you have to kind of praise Sam and praise the, you know, book editors in this on what they included in and what they didn't. But that's thinking to like a musical like The Notebook, that's a moment that Sam figured out how to create in that space that leaves a lasting impression on you. And like in The Notebook, we've always known that the kiss in the rain is the biggest thing.

And were you left with an impression after something like that? So it just shows like different directing skills, I think, that are out there in this space. And this one was a big one. I think the flower field and the release of that design choice and bringing that flower, the flower power children. There's so many messages in there, the youthfulness of the fruit of them being these young kids that don't know anything about love, that don't know anything about sex, and they're starting to learn. They're young, and to help that. And to but the but most of those actors on stage were young too. And I think how many times do you see, oh, a 30-year-old's playing in, I'll use Grease as the example.

How old was John Travolta and Olivia Newton-John playing 17-year-olds when you actually have young, young people playing young people, it gives that freshness to it. And not to mention the audience is swooning for Kit. Everyone really likes Kit in Heartstopper right now. He's grown into this actor that is just giving a commanding Romeo performance here. Like I've just blown away by him and what he's doing in this. I think he's very impressive.

[16:30] Richie Grasso: And moving to one of our faves right now is who? Miss Gabby Beans. Miss Gabby Beans. She's wonderful. This is now the third thing we're seeing her in. I will still say that my favorite thing that I think I've seen her in still is her Tony-nominated performance in Skin of Our Teeth. It was pretty mind-blowing what she was doing in that. This is also very, very good what she's doing in Romeo and Juliet as well. I think to kind of switch back between Friar Lawrence and Mercutio. Mercutio is an interesting choice of double cast. Because they are, both characters are the glue of sorts to Romeo and Juliet in a way. Kind of, yeah, right. And I find that that's an interesting choice. And I think that Gabby was able to find the comedy in being the friar.

And it worked in narrating. Like she's really great at commanding a stage. Um, so yeah, I mean, I liked it. I enjoyed it. I also a standout performance for me also was Sola Fad Fadi Ran. I hope I'm saying that correctly, who played Capulet and Lady Capulet, and I thought that was so interesting because they were playing Juliet's father and mother. And I think that what's so smart about double casting that is like just make one actor the parent, the stereotypical parent. We don't really need two parents here because they're both gonna be the same, they're both gonna be upset with Juliet. So why don't we just make it one actor? And there was the scene when I always find I forget this, but there's the scene where I forget if it's Capulet or Lady Capulet when Sola was playing this.

They say some pretty harsh stuff to Juliet. Like, you will be dead to me if you go to Romeo and Juliet. Could you imagine a parent saying that to, you know, it's so it was really groundbreaking stuff, and I found Sola to be just really captivating as this parental figure in this youthful cast? It was very, very good.

[18:41] Jeff Malone: Now I have a bold question here because of casting. But do you think that this show works without stars?

[18:53] Richie Grasso: Uh, yeah, like you could have, you would have been completely fine seeing anyone up on the stage. Yeah, if I went back and I saw there was an understudy on for Kit or an understudy on for Rachel, I would have liked it just as much. And that's no disrespect to Kit and Rachel because they're doing wonderful things. But I think this is a text and a concept that works in its way. And yes, of course, you still want good performers performing the role. I think I'm asking the question wrong. Do you think this show? I mean, right now we're reading the grosses. This is pulling in over a million dollars a week. It's successful. That's great. Does this show pull in over a million dollars if Kit and Rachel were not in it?

I don't know. That's the interesting topic there. Sometimes with Shakespeare, a lot of times the title alone will sell. So I was just curious to see, like, from a producing perspective on this, if it works without stunt casting. We see stunt casting all the time. You know, we saw the Macbeth with Alan coming. We're gonna be seeing the Fences with Denzel Washington. There are still stars that go on, and um Kenneth Branagh is gonna be doing the off-Broadway of um, oh gosh, what Shakespeare is that? Is it King Lear? I forgot what the off-Broadway they're doing.

[20:04] Jeff Malone: King Lear, yeah, I think I'm pretty sure.

[20:06] Richie Grasso: Yeah, so there's always stars associated with Shakespeare a lot of times, but yeah. So well, I do want to go on to a little bit of our experiences of the show, some Tony talk and some Broadway news that was announced this week. So let's do that. But first, here are a few messages from our sponsors.

[20:22] Jeff Malone: Okay, experience at the show, high-level energy, youth in the audience as well, young people submerging themselves literally and figuratively into the piece. I thought the experience was captivating. And I think I liked my experience overall. I liked coming down that escalator and saying to myself, oh, this is different. This is not what I was expecting here. Um, you know, I kind of had that whole vision of like, yeah, they're gonna go like from the film version with Leonardo, and that whole like that was one of the time was very 90s grungy. This one kind of leaned on a little bit more of like that Gen Z Brooklyn-y kind of I'm gonna go steampunk on this style, which I think they played into nice.

It’s like what you would think of like Charlie XCX in a basement and it's dirty, like that is where we're going with this. And I do feel like that experience worked. I think probably a lot of people in the Broadway space like had a culture shock moment where this is like, this is how my, what do they call that playlist on the not your mom and dad's Broadway?

[21:30] Richie Grasso: Right, right, right.

[21:32] Jeff Malone: But you know, guess what? This, we need different things on Broadway like this. I also find that, you know, this is a strictly limited engagement. There is a show already announced to go in here in the spring. That's gonna be very different. That's gonna be your mom and dad's Broadway. But this also, yeah, that's that I believe the Bobby Darin, the Bobby Darin, yeah. Stars, Jonathan Groff. But this and Juliet will have a strictly limited engagement, it will end. And I do hope this is remembered in Tony Awards. We always say that about the fall shows that do end early. Do I think this gets a Best Revival nomination? Sure. Do I think Kit and Rachel have a potential to be nominated? Oh, yes. And do I think that there's a potential for original music in a play or a musical?

Because you know, like Seraphonic kind of was part of that, like the beam play. Sure. For Jack, sure. I wonder if it's enough music to get that. I don't know. I don't know. Um, especially with the amount of new musicals that we're having this season. It would be very, I think Sam could be nominated for director for sure. It's a great concept, and I think it works, and I hope it does well in at least some nominations at the very least.

[22:41] Richie Grasso: Yeah, we'll see. I don't know about the tech and scenic nominations there. There's a ton of stuff, so um, like costumes or lighting. I mean, there were some costumes I thought were cool. There were some that I felt like were a little too over the top, but yeah, there were some that pushed a little bit with the costumes, but it just like was like, okay, we get it. But yeah, let's do some chatting on some upcoming announcements that we have here. One that we just talked about, the Bobby Darin musical, um, that Jonathan Groff is starring in, is going into the Circle in the Square after this. Um exciting.

[23:19] Jeff Malone: Uh listen, I think it's exciting for two reasons. Jonathan Groff is wonderful.

[23:22] Richie Grasso: Yeah.

[23:23] Jeff Malone: And I think he's on the high of the Tony win, and why not put him in something again? Um also I think people, young people forget how really big Bobby Darin was. We always think of Frank Sinatra, Dean Martin, some of these other big male singers. Um, there's so many, but Bobby Darin had some, I get if you name some songs, like, oh wait, that's a Bobby Darin song, right? So I don't know much about Bobby Darin's personal life, but I do know he had some iconic songs in the American music scene. So I really just wonder if it's going to be super like if it's going to be super biopic type musical or if it's going to be slightly different. I couldn't imagine Jonathan Groff really signing on to a project that's just him impersonating someone.

But I could be wrong. Um, you know, the last time something like biopic and submersive was that was when Audra did Lady Day, uh, um down there. And so that was that club cabaret feel where you felt like you were at a Billie Holiday concert. So maybe this will feel like you're at a club, a Bobby Darin club concert, you know.

[24:32] Jeff Malone: Yeah, I mean, this is one that no one really knows anything about because did this happen out of town? I don't know. I've heard nothing about this until we heard, oh, okay, just in time, Jonathan Groff or Step in Time, whatever it is. I don't know what I'm saying anymore.

[24:50] Richie Grasso: But um, there's another musical that just announced. Well, we have two announcements. One is that we did get some additional casting for the Sondheim show, Old Friends. Beth Level, Gavin Lee. Um, there's some wonderful along with Lea Salonga and Bernadette Peters. I think that's gonna be your golden age kind of feel. It's gonna be very uh a cabaret style of uh not, you know, it's a concept-y show, a review, but you're gonna get those Sondheim songs. You're gonna see the Sondheim stars singing it, and I think it's gonna be great. Other big musical announcement, uh, final listing here was that Smash is coming to Broadway at the Imperial Theater with um Robyn Hurder, uh, Caroline Bowman, I believe, Susan Stroman is directing.

[25:34] Jeff Malone: So uh I did call it. It's coming.

[25:37] Richie Grasso: Another big show. I called it. It was going to the Imperial after Water for Elephants. And as they were closing, I said, hmm. Smash still doesn't have their theater, and every other theater was getting scooped up. So another show.

[25:53] Jeff Malone: Little bold statement there.

[25:56] Richie Grasso: I don't know how I feel about the whole Smash announcement. I'm still a little biased on this because I think Bombshell should have just came and then a full thought-out fleshed-out musical. Um, but we'll see. It could have a cool concept to it. I do think the Bombshell musical within the musical was good when that TV show was on. Some of those scenes and songs were really great.

[26:21] Jeff Malone: Oh, yes.

[26:25] Richie Grasso: Oh, we're just about out of time here. So getting ready to wrap up. What are your final thoughts on Romeo and Juliet on Broadway?

[26:31] Jeff Malone: This is the show for the youth. Go check it out. I think that many people will enjoy this. I think it's a great um version of Romeo and Juliet. And I think that Kit and Rachel have great chemistry, and they're really putting out a great performance. And yes, Jack's music in here was just the icing on the cake for me. It is really revolutionary. I think everyone should check this out. And I will say, plays are really bringing it this season between Job, O'Mary, Hills of California. This four, I just named four completely different shows that are all plays that are bringing epic story and acting in direction. Just go see a play. It doesn't always have to be a musical.

[27:16] Richie Grasso: Yeah, go see a play. There's plenty of new stuff, and there's more to come. We have more play. I think there's three.

[27:21] Jeff Malone: Yeah, we have left on 10th coming up. So I wonder if we're gonna be saying the same thing about that. And we also have um, uh there's Eureka Day. We have uh Cult of Love. Oh, that's just the fall. Then we have, you know, Othello coming in. Uh there's some a lot of things coming. We've had Our Town, right? Lots of plays. So go check out theater. There's so much theater in New York right now. Go buy a ticket and go see something, please. Because there's just so much, and you'll, you're gonna get a good experience no matter what you see most of the time.

[27:53] Jeff Malone: So that does uh wrap up our discussion of the episode. We hope you enjoyed our deep dive into uh Romeo and Juliet. We'll share the link with ticket information in our description. And remember, we want to hear from you. Continue the conversation with us on Instagram at Half Hour Podcast and let us know your thoughts on Romeo and Juliet. If you enjoyed our show, please leave us a review. Your feedback helps us bring more theater to you. And remember, you can listen to past episodes and stay tuned for upcoming ones as well. Until next time, I'm Jeff.

[28:20] Richie Grasso: And I'm Richie saying ta-ta for now.

[28:23] Jeff Malone: Bye.