Romeo and Juliet, American Repertory Theatre, Loeb Drama Center, Cambridge, through October 6. 617-547-8300 or amrep.org.

In an age of spiraling polarization and hate crime violence, "Romeo and Juliet" proves as timely as ever. Not surprisingly, two important area companies have been taking on Shakespeare's love tragedy this year—Actors' Shakespeare Project this past May-June and American Repertory Theatre now through October 6. Both productions feature relatively spare scenic design—Amy Rubin's elegant wood constructs at A.R.T.—that smartly puts the focus on the play's depiction of romance confronting family opposition and the lethal consequences of hate and intolerance.

If actress-director Marianna Bassham's ASP staging at the Calderwood Pavilion seemed tighter in its approach to the tragic elements, artistic director Diane Paulus' A.R.T. effort at the Loeb Drama Center sometimes comes across as eager to end on a more hopeful note. Shakespeare buffs may suggest that Paulus eventually tackle the 2019 'what if' musical "& Juliet" that finds the heroine still alive.

Overly optimistic at its end or not, the A.R.T. production does feature several strong performances in key roles and generally faithful attention to both the serious and humorous scenes and exchanges in the play. As always Montague and Capulet men vividly exchange insults and foreshadowing menace. Here Capulet kinsman Tybalt—properly unrelenting as played by Alex Ross—even briefly roughs up Romeo's peace-seeking cousin Benvolio—given both caring and character by Brandon Dial. Romeo's best friend Mercutio joins them for properly playful movement and suggestive wit.

Designer Emilio Sosa dresses the three and others in expressive casual modern dress. Clay Singer has all of Mercutio's flamboyance and touchy-feely flair—particularly during the lyrical Queen Mab speech. Sidi Larbi Cherkaoui sharply directs movement during both conflict and capering, though the choreography for the dancing at the Capulet ball ought to be more exuberant.

Rudy Pankow finds Romeo's reflective nature early on so that his quick attention to Juliet at her father Capulet's ball is easily established. Emilia Suarez is so captivating as Juliet that Romeo's love at first sight feelings are instantly convincing. Pankow has all of Romeo's agility and energy as he climbs towards Juliet and later descends from her. Throughout the play Suarez powerfully moves from dreamy youthfulness to growing vulnerability —especially after Romeo is banished for killing Tybalt, who has killed Mercutio.

This gifted actress—who does full justice to Shakespeare's imagery about the stars and the lark—makes conflicted Juliet as dominant in the later going as her speeches and evolving emotions demand. Pankow and Suarez have persuasive chemistry as the challenged lovers.

In Paulus' staging, pivotal Friar Laurence looms as large as the focal pair. Terrence Mann brings strong authority to the couple's quiet wedding. Mann has all of the paternal would-be peace maker's gravitas and self-criticism in failing to actually notify Romeo about his strategy to enable the lovers to find a safe haven in Mantua. Sharon Catherine Brown catches also supportive Nurse's caring for Juliet but could do with more understatement during moments of earthiness.

Terence Archie catches Lord Capulet's seeming fairness in the early going and his emotionally abusive demands in speaking to Juliet about Paris. Jason Bowen has all of the Prince's unwavering if complicated fairness. Adi Dixit comes across as overly confident as Paris.

Strangely, Paulus' staging omits the fight at the Capulet vault during which Romeo kills Paris. Shakespeare is of course in eminent domain, and various productions do make diverse cuts. Still, eliminating this fight arguably diminishes the play's insight about hate and the loss of young lives.

Also strange is a seeming attempt at somewhat transcending the chilling ending by having actors engage in planting at the close as a kind of metaphor for a better future.

A.R.T.'s lively staging deserves to be seen for Rubin's clever design—which smoothly becomes the various scenes—and several arresting performances—especially Suarez' riveting Juliet. Even so, "Romeo and Juliet" remains a haunting tragedy—one that calls on theatergoers to do the planting of love and understanding after seeing it.