I sprung for floor seats at R+J since it was Kit Connor and the non-spoilery "advice" (such as it is) on reddit was that if you were already willing to splash the memebucks around town for an even entry level ticket to this show, you might as well pay the little extra to upgrade to floor seats since (a) it is Kit Connor, (b) for a limited period of time on Broadway until February 16, and (c) something you will probably be talking about for the rest of your life on a shortlist of magical theatre experiences. I did theatre as a kid, my career is dramatic/theatrical in nature, and I personally fund a university scholarship for underprivileged LGBTQ+ teens pursuing a theatre degree, so this production of R+J with Kit Connor ticked all of the boxes of what has made and continues to make theatre magical for me.
This was without a doubt the most money I have ever spent for a single seat on Broadway, off-Broadway, off-off-Broadway, MLB, MLS, and NHL games, including the years the Canucks are in the playoffs where money is not an obstacle as I grapple with scalper fees at Rogers. I was going to write a review immediately after the show but I got busy, so I didn't, so here it is a month later. There is only a limited run of the show before Kit Connor departs the show, so if you have the opportunity to get seats before February 16 absolutely do it.
Since I am an old--and literally brought the average age in the theatre up, rather than down as I normally do in Shakespearian or Dickensian productions--I was first introduced to R+J and read it for the first time something like 30 years ago. After 30 years of it, being fortunate to visit Stratford-upon-Avon for productions whilst studying at Oxford, the Baz Luhrmann film, and your average student productions, I did not think there was much left that could be done to make it exotic or experimental. Boy was I wrong, these people figured out a way to put a lot of 21st century Gen Z lipstick on a reliable old pig.
Other people looked out for me by avoiding spoilers so I will do the same here, which limits how bulky the review can get. The entire theatre gets used. Some seats are definitely better than others. I had researched enough to sit on "Kit's side" where he spends much of the show. There is a crazy amount of movement with actors hustling by you left and right. It is a frenetic experience which actually makes you feel like a 14th century Veronan dandy in the bushes observing everything that is happening through opera glasses (dandy, am I right?) as you step into a time warp bubble and are ok with some of the more modern, experimental aspects of what is happening around you since you need to play it cool as a Veronan dandy spymaster/peeping tom.
Downsides:
The floor seats are both tiny and incredibly on top of each other, that is not a deluxe experience to be basically sitting in the lap of the ~20 year old lady next to me.
The lobby waiting area before the doors open for you to go down to your seats is overcrowded and way too loud, it is smarter to just wait out on the street. The one or two vibey areas you may want to get a photo of are mobbed by the tiktokers and "influencers" so you do not have a chance to get an uninterrupted second to get a photo.
Once you get down to your seat, they mightily threaten you repeatedly that you cannot take photos in the theatre and they will take you out back and shoot you if you do. Ok boss, no photos.
It was absolute chaos getting out of the theatre from the floor seats since everyone in the cheaper seats were closer to the door and willing to trample their grandmothers to get outside first to have a slightly better chance of getting their playbill signed by Kit. It was 16 degrees and I did not have my arctic gear with me so with the huge crowd that had assembled before floor seats were able to get out of the theatre I was going to be so far back there was no chance I was getting a playbill signed, so I just went home rather than waiting around and getting frostbite for nothing. I think CITST really needs to better moderate/regulate the orderliness of the exit, or to take into consideration the premium that people pay for floor seats ultimately factors into them having zero chance to queue up in a decently likely position to get an autograph outside after the show. This is the single biggest factor that had me knocking yelp stars off of the wall as I continued writing this paragraph.
While I have the memory of seeing Kit Connor in a transcendent, truly unique experimental production on Broadway from a good vantage point, I did not obtain the more coveted fleeting interaction in frigid temperatures where he exhaustedly dragged a sharpie across a playbill for the 100th time that evening and I said "why are we like this?"
I would see a Kit Connor production anywhere, anytime. Would I go out of my way to come back to CITST? Hard pass. But if something I wanted to see was here, I would come back. read more