So he has the chops, the looks and most of all the voice and the presence. And, while no single performance ever could exhaust the possibilities of any Shakespearean role, Euriamis Losada's Romeo was a triumph: impulsive, young and sexy, but also in precociously masterful command of the heavenly music that is Shakespeare's language. This Romeo's banter with Nicholas Richberg's fine Mercutio alone would have been reason to cheer: clever dialogue that was at once of its time and timeless, made to titillate and entertain with its sensual possibilities even as one could not help admiring the craft of play and players alike. There was also more than a touch in Losada's performance that is too rare among young American actors, a disarming desire to conspire with the audience in making the play work, to play to them with no apologies, to shatter all barriers between the performance and its witnesses. Losada's final scene in Rafael de Acha's Romeo and Juliet had New Theatre audiences in tears. His complex Bassanio in The Merchant of Venice, incidentally, proved that his Romeo was no one-time fluke. Here is a young actor to watch.