Romeo und Julia is considered the most romantic piece by the linguistic genius Shakespeare, yet on the streets of Verona, the sword often speaks louder than words. The house director, Elsa-Sophie Jach, focuses in her production on the roles assigned to not only the feuding families but also fundamentally to the genders in this game of love and death.

Set against a backdrop of war, despite the prince declaring a ceasefire between the Montague and Capulet families, even the slightest provocation can lead to more fatalities. Only the youngest heirs of these rival families discover a new language beyond weapons: "Here hatred rages, but love rages more," they counter the conflict of their kin, albeit secretly at first. From the outset, the delicate poetry of seduction is intertwined with the utopia that this love could foster peace beyond their own happiness.

In stark contrast to the possibly contemporaneous Sommernachtstraum, here, the night is the hour of true feelings, the moment when masks fall and name and origin become irrelevant. Even though Shakespeare's lovers do not survive the song of the lark, their example illuminates the possibility of ending hostilities.

For Elsa-Sophie Jach, her production explores the spaces of action allocated not only to the feuding houses but also fundamentally to the genders in this narrative of love and death.

"Little is what it pretends to be in the most famous love story of the theater, least of all the people. Their language is ambiguous, dubious, overflowing, beautiful. They themselves are driven, unmoored, unconditional. Is it hatred or love that drives people, or is it greed? And is a pause, an understanding in the state of frenzy still possible? Often, when man is very close to death, he becomes very cheerful, says Romeo; they call that the lightning before death." - Elsa-Sophie Jach

This production features a brilliant main character in the form of a powerful cube of white metal struts that expands into a multifaceted playing area (design by Marlene Lockemann). A work of art that invites movement, running up and down, and hiding.

Jach breathes new life into this classic, not only through dynamic movement but also by placing a stronger focus on the roles of women. A few texts from the first English female writers are included (writing and performing were male-dominated in Shakespeare's time around 1600). Pia Händler gives her nurse a determined and witty presence, and Romeo's friend Benvolio is also portrayed as a woman: Lisa Stiegler stands out clearly as Mercutio (Patrick Isermeyer) delivers his witty quips.

And Julia? She simply emancipates herself from death. For all the love that Lea Ruckpaul and Vincent zur Linden as the title couple beautifully explore (the camera captures this in great detail): Julia here is the stronger, more reflective character; self-determination is important to her--even if her parents in their over-stylized seventies chic (Oliver Stokowski, Barbara Horvath) have very different marriage plans. Years later, Julia, now gray-haired, gazes into the grave of her ex-lover Romeo--this is how the evening begins.

The performance lasts three hours (with an intermission) and has received standing ovations. The Resi is likely to have another hit!