Romeo and Juliet. It’s hard to believe that until director Franco Zeffirelli’s 1968 movie, the title roles in Romeo and Juliet were done on stage and on film by mature actors. When the star-crossed lovers are played by age-appropriate performers, as in the Syracuse Shakespeare Festival’s current production at Syracuse University’s Warehouse Theater, 350 W. Fayette St., youthful idealism and raging hormones shade every word.

This effort, featuring appealing youngsters Jeremy Wallace as Romeo and Jo D’Aloisio as Juliet, displays the considerable joys and occasional shortcomings of community-theater Shakespeare. Director Debbie Pearson has her work cut out for her with a large cast that ranges in both age and skills.

The incandescent D’Aloisio, with her clean diction and careful concentration, instinctively connects with the material. As her ardent lover, Wallace may not have an ear for the subtleties of the poetry, but his earnestness carries the day. Together they turn Romeo and Juliet into types we see in high schools all the time. He’s a puppy dog of a kid with a varsity letter and more ardor than intelligence who falls for the glowing, graceful young woman, who—miracle of miracles—reciprocates. In high school life, they live happily ever after—at least until the prom. With a little bit of luck things turn out better for them than for Shakespeare’s iconic teen lovers.

A cast standout is Katie Gibson as the nurse, whose voice and demeanor make us wonder what Katharine Hepburn would have done with the role if she had stepped off her pedestal. Gibson handles the nurse’s nattering comedy with aplomb. There’s a real rapport between her and D’Aloisio; their scenes together have an emotional trueness rare for the community stage. 

Adding narrative clarity, Bob Reid gives us an old Capulet who’s much more than a cardboard cutout of the feud-weary father. Although Matt Nilsen as Romeo’s friend Benvolio warms up the more natural rhythms of the verse as the play proceeds, the age difference between him and Wallace’s Romeo is alarming. Rangy Ryan Maness endows Mercutio with an easy grin and a mischievous twinkle in his eye, giving an enthusiastic rendering of the Queen Mab speech. By the time of the climatic fight, which is handled well, Mercutio has grown into a sympathetic and believable character. Collin Babcock is a glowering Tybalt, whose very presence exudes the malice of a schoolyard bully.

Without a doubt, the Warehouse Theater imposes considerable limitations. In the tiny narrow space, a group of more than three people becomes a crowd scene. The platform stage is not high enough to provide good sight lines from much of the seating. From the middle of the audience, it seems like scenes played close to the floor are taking place in a pit.

Although it is famously proclaimed as “Two hours traffic on our stage” in the prologue, this nearly uncut version of Romeo and Juliet is considerably longer. This allows for deeper character development, and some interesting details emerge, such as the revelation of the nurse’s first name (Angelica). Still, the show, which clocks in at more than three hours, could do with some trimming.

As to be expected in a community production, there’s great variation in the quality of the performances and the technical acumen in this Romeo and Juliet. What doesn’t waver is the Syracuse Shakespeare Festival’s commitment to the play, and the company’s enthusiasm brings a sweetness to the entire endeavor.

This production runs through Jan. 18. See Times Table for information.

—Len Fonte