Gold aimed to create a production that resonated with young people, addressing their mental health crisis and drawing them away from screens. He saw Romeo and Juliet as a timely play about teen suicide that could offer a communal experience and help young audiences.
Gold rejects the label of deconstructionist, emphasizing that he is not dismantling the plays but engaging with them authentically. He uses contemporary elements like pop music and modern dress to connect with a young audience, mirroring Shakespeare's own use of popular culture in his time.
Gold's primary goal is to create a production that speaks directly to a young audience, making them feel included and engaged. He aims to excite them about theater and provide a space where they can experience and process their own emotions and societal issues.
Gold sees film as a tool to enhance storytelling, drawing parallels between Shakespeare's use of popular culture and his own incorporation of film techniques. He uses elements from film, like close-ups and quick shifts between serious and humorous moments, to create a more immersive and relatable experience for the audience.
Gold faces the challenge of balancing his experimental approach with the expectations of a broad audience. He must navigate the conventions of Broadway while maintaining his commitment to authentic engagement with the text, ensuring that his productions resonate with a diverse audience without compromising his artistic vision.
Sam Gold has directed five Shakespeare tragedies, but his latest, “Romeo + Juliet,” is something different—a loud, clubby production designed to attract audiences the age of its protagonists. “It’s as if the teens from ‘Euphoria’ decided that they had to do Shakespeare,” Vinson Cunningham) said, “and this is what they came up with.” The production stars Rachel Zegler, who starred in Steven Spielberg’s remake of “West Side Story),” and Kit Connor, of the Gen Z Netflix hit “Heartstopper,” and features music by Jack Antonoff. Gold, who cut his teeth doing experimental theatre with the venerable downtown company the Wooster Group, bristles at the view that his production is unfaithful to the original. “A lot of people falsely sort of label me as a deconstructionist or something, because they’re wearing street clothes,” he tells Cunningham. “I’m not deconstructing these plays. I’m doing the play. . . . I think it’s a gross misunderstanding of the difference between conventions and authentic engagement in a text.” Gold aspires to excite kids to get off their phones. “We are in a mental-health crisis [of] teen suicide. I’m doing a play about teen suicide, and all those young people are coming. And I think we can help them.”