The universal appeal of Shakespeare’s “Romeo and Juliet” is evident.

It presents an archetypical love affair so timeless it seems to unravel the very DNA of our souls. Two lovers at the apex of their youth — innocent, exuberant and determined — are suddenly struck down by fate and the cruel iniquities of life.

This doomed love affair has been the catalyst for no less than 36 films — several of which have won Oscars — and hundreds of stage productions going as far back as the 16th century when Shakespeare himself first adapted it from prose, to Lord Chamberlain’s men in the 1660s and to John Gielgud and Laurence Olivier in the 20th century. It has been the inspiration for Broadway musicals, ballets and operas by such celebrated composers as Tchaikovsky, Prokofiev, Berlioz and Bellini.

And then there is this one.

This “Romeo and Juliet,” on stage at the Angus Bowmer Theatre of the Oregon Shakespeare Festival, doesn’t pull any punches. It’s down and dirty and in your face. It even comes with a disclaimer “Gun violence, teenage suicide, domestic violence, blood, loud noises, smoking, drinking, drug use and economic disparity.”

Not for the faint of heart.

But in the production’s desire to wake you and shake you, it also delivers a unique experience that is impressive and raw. Director Nataki Garrett’s latest iteration may be one of the bravest, most imaginative productions yet.

There are so many original ideas in this production. Scenic designer Nina Ball, along with lighting designer Xavier Pierce, projection designer Rasean Davonté Johnson and automation engineer Nebraska Bailey have put together a backdrop and set worthy of DeMille. There are the eerie effects of car lights passing over an expansion bridge, the rising of the sun in the east, the darkness that always seems to pervade this corner of Juliet’s world. It comes with clever scene introductions, like that of a food truck with interesting moving parts, and the sounds of garbage trucks breaking through the bleak mornings.

So now you’re wondering, why this take on R and J’s tragic circumstances? Director Garrett explains, “I have always been curious about this story against the backdrop of desperation instead of abundance.”

Ahh. Now we get it.

Here’s the scuttlebutt on poor but sassy Juliet, played by Jada Alston Owens. She’s living upstairs near a homeless encampment. Her parents live downstairs in a dilapidated shell of an RV. Owens really understands Juliet, sailing with ease through two of the most vigorous, central-to-the-plot soliloquies. In the first, she is entreating her Romeo to visit, and in the other expressing her foreboding about his fate. She shows us a Juliet with backbone, and with Owens we know she doesn’t see Romeo as a way out, but as her destiny.

Our Romeo is played by Jeremy Gallardo with energy and a sense of urgency. We clearly get that he is driven from one situation to another in a desperate attempt to be with Juliet, defend his cousin Mercutio, and assuage the anguish he feels over having slain Juliet’s suitor, Paris.

Amelio Garcia plays Romeo’s cousin Mercutio — and Garcia is wonderful. There is an understanding of this character here that is quite remarkable. We are treated to one of the stellar monologues in the play, known as the Queen Mab speech, in which the always jovial Mercutio teases Romeo about a crush, and does it with a rap that is so pleasing it would have Shakespeare slapping his quill pen on the old Globe floor.

Several of the actors in this production would have made Shakespeare proud — Caroline Shaffer as Juliet’s nurse/homeless neighbor; Gyasi Silas as Tybalt; Shauna Miles as Lady Capulet; Catherine Castellanos as Capulet; Tyrone Wilson as Friar Lawrence/or minister.

The costumes are by X. Hill. Juliet’s outfits are appropriate and reflect the scarcity with which she lives. However, the costumes themselves didn’t seem to blend with her personality. She wore a loud, lime-green blouse with a dull skirt and vest for several scenes. I believe Juliet would have more style, even if she had acquired clothes from a second-hand store.

T. Carlis Roberts, the production’s composer, sound designer and music director, offered a transitional score that smoothly moved one scene to the next and was not too jarring.

Without a doubt, this is a unique production, but it doesn’t come without its problems.

Although comfortable in their singular expressions of desire to be married, Owen’s Juliet and Gallardo’s Romeo never seem to quite emotionally connect. Those feelings that come from passion and longing just didn’t seem to be there. Even the morning when Romeo wakes up and leaves his wedding bed, you get the impression not much happened the night before.

Gallardo’s Romeo also tries to be a bit too comedic, and the part is overplayed in several instances. Perhaps by the time the love scenes arrived, he just didn’t have that much to give. However, there didn’t seem to be a spark coming from Owens either.

The other problem is intention. In addition to the anguished love story we are already witnessing, Garrett wants to call our attention to the poverty, injustice and suffering going on in the inner city. She placed the story against a backdrop of “desperation instead of abundance.” But the play already contains its own backdrop of despair and desperation. It is played out in the tragic murder scenes and is demonstrated by the two families’ hatred of one another. So one wonders if, in trying to shine a light on one idea, Garrett inadvertently took away from the other.

As with most productions at OSF, you can look forward to fresh takes on familiar stories, innovative staging and thought-provoking themes. Those elements are present in this production too. It all depends on what you’re looking for.

“Romeo and Juliet” runs through Oct. 15 in the Angus Bowmer Theatre at the Oregon Shakespeare Festival, 15 S. Pioneer St., Ashland. Tickets are $35 to $75. Group discounts available.

Showtimes, ticket prices and further information is available online at osfashland.org or by calling 800-219-8161.