Kit Connor and Rachel Zegler lead the nihilistic, nonsensical “Romeo + Juliet.” Nearby, Julianna Margulies and Peter Gallagher star in the sentimental “Left on Tenth.”

It’s hard to believe that this Romeo and Juliet have a love so overpoweringly essential that they not only risk their lives in its pursuit, but would prefer death to its absence.

This go-round, Gold’s big idea is, pretty much, Season 3 of “Euphoria.” Scored by dance music on a set of teddy bears and Hello Kittys by the firm called dots that’s bathed in designer Isabella Byrd’s blue and pink light, you feel as though you’re a fly on the wall at a house party in the suburbs while someone’s parents are away.

You might think of the new Broadway production of “Romeo and Juliet” as a teddy-bear picnic—with ecstasy as party favors. Actually the ecstasy is only a conjecture, but both the stage and the lobby of the Circle in the Square,

In the promotional run-up to director Sam Gold’s production of “Romeo + Juliet,” much effort was made to promote the intensity of its young stars’ feelings, justifying the exorcism of that prosaic ampersand in the title in favor of an additive plus sign.

A few blocks from the new, extremely loud and ultimately tiresome Romeo + Juliet on Broadway—the word “and” clearly now deemed unacceptably square and boring (Circle in the Square, booking through Feb.

BroadwayWorld spoke with members of the company of Romeo + Juliet on Broadway, and asked what it means to them to be making their Broadway debut.

Characters vape, gender is fluid, desire bi, and death assured in director Sam Gold’s hyperpop reimagining of ‘Romeo + Juliet.’