Romeo and Juliet - The Philadelphia Shakespeare Festival€¦ · OTHELLO MACBETH OPHELIA SHYLOCK THAISA JULIET TOUCHSTONE CAESAR PROSPERO Romeo and Juliet. Pennsylvania Department

Study Guide

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Romeo and Juliet

Pennsylvania Department of Education Academic Standards

The material in this study guide is designed to meet the following Pennsylvania Academic Standards.

Pennsylvania Academic Standards for Reading, Writing, Speaking, and Listening

• Students will use knowledge of root words and words fromliterary works to recognize and understand the meaning ofnew words. (1.1.11 C)

• Students will identify, describe, evaluate, and synthesizethe essential ideas in text. (1.1.11 D)

• Students will read and understand works of literature.(1.3.11 A)

• Students will analyze effectiveness, in terms of literaryquality, of the author’s use of literary devices. (1.3.11 C)

• Students will analyze and evaluate in poetry theappropriateness of diction and figurative language (e.g.,irony, understatement, overstatement, paradox). (1.3.11E)

• Students will analyze how a scriptwriter’s use of wordscreates tone and mood, and how choice of wordsadvances the theme or purpose of the work. (1.3.11 E)

• Students will read and respond to nonfiction and fictionincluding poetry and drama. (1.3.11 F)

• Students will demonstrate fluency and comprehension inreading. (1.1.11 H)

• Students will listen to others. (1.6.11 A)• Students will listen to selections of literature. (1.6.11 B)• Students will contribute to discussion. (1.6.11 D)• Students will participate in small and large group

discussions and presentations. (1.6.11 E)

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Copyright © The Philadelphia Shakespeare Theatre 2014. The information contained herein is proprietary and is not intended for publication.

Contents

Shakespeare’s Life and Times ..................................................5What Did Shakespeare Look Like? ...........................................5Shakespeare Portrait Gallery ....................................................6The Elizabethan Theatre .........................................................7Plot Synopsis ..........................................................................8

Romeo and Juliet on Stage and Screen ..................................14Did You Know? ......................................................................13

Pennsylvania Department of Education Academic Standards ...............................................................2

Interviews with Cast and Crew................................................18

A Message From the Director...................................................4

Marriage in Elizabethan Times...............................................15A Bit About Setting.................................................................17

Before and After the Performance..........................................25

A Message from the Director

Romeo and Juliet is the most famous love story in the English language. Are there lines that you are already familiar with? “O Romeo, Romeo. Wherefore art thou Romeo?” Juliet wishes Romeo could be anyone else except the sworn enemy of her family, but they take the risk and choose each other anyway! I think the play captures our imagination, because we get to watch two young people throw away their parents’ rules and invent a new love. They create their own version, which is intense and secret and special.

Have you had similar experiences? Do you see relationships the same way your parents see them? Have you had to invent your own version of love with someone? Do you think it can last?

Many scholars have pointed out that most comedies begin this way - with two young lovers having to find a way out from under their stick-in-the-mud parents to be together. But in a comedy, everyone gets married and lives happily ever after. In Romeo and Juliet, the lovers marry, but we see what happens after Happily Ever After: and it isn’t good. The real world comes back and crushes their bubble and, instead of choosing to accept this defeat, the star-crossed lovers take their life. While the audience gets to revel in the excitement and passion of young love, we are also warned of the dangers of naïveté and the harsh realities of society. While the play is 420 years old, are things very different?

We asked these questions of Philadelphia and invited the greater community to write sonnets talking about what it means to be in love today. We got some great responses, and decided to put some of the sonnets into the show. Shakespeare wrote Romeo and Juliet (and all his plays) in five acts, and while we will only take one intermission (in the middle of Shakespeare’s Act 3), we put one sonnet in between each of Shakespeare’s five acts. These are great moments in the story to pause, reflect, and hear a personal reflection from someone in the community. I think this is a great way to take this ancient love story and hear it fresh; giving it a new and different life when it is framed with these contemporary voices and stories.

If you were going to write your own story about being in love today, what would you write about? Can you relate to Romeo and Juliet? Or do you think they are making a mistake? Are the Friar and the Nurse right to help the young lovers? Or are they part of the problem? Is Capulet too hard on his daughter? Or is he keeping her protected?

David O’Connor David O’Connor Director, Romeo and Juliet

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Shakespeare’s Life and Times

There is very little actually known about William Shakespeare. However, more is known about him than most dramatists from the period. He was christened on April 26, 1564 and his birth date is historically attributed to April 23, 1564. He was the eldest of John Shakespeare and Mary Arden. He was born and raised in Stratford-upon-Avon, a market town approximately ninety miles northwest of London. His father was a glover, wool trader and money lender, who became the town’s Bailiff (Mayor) in 1582. Shakespeare most likely attended the town’s grammar school where he was instructed in Latin and studied the Classics.

In November of 1582, he married Anne Hathaway. In May of 1583, their first child, Susanna, was born. Two years later, Hamnet and Judith, fraternal twins, were born.

There is no record of Shakespeare’s early career. At some point he went to London and began working as an actor and playwright. By 1595, Shakespeare was a shareholder in The Lord Chamberlain’s Men (later called the King’s Men). In 1596, his son Hamnet died.

In the years that followed, Shakespeare’s plays were written, performed, and many of them printed. In 1597, he purchased New Place, the second largest home in Stratford. In 1616, Shakespeare died, reportedly on his birthday. He is buried in Holy Trinity church, the same place where he was christened 52 years prior.

The exact number of plays penned by Shakespeare is debated. Much scholarly work is being done in the field of Shakespeare Textual Studies to determine which plays were solely authored by Shakespeare and which were co-authored. However, most agree that Shakespeare wrote 38 plays, 5 long poems and 154 sonnets.

What Did Shakespeare Look Like?Until recently, there was not even a clear idea of what Shakespeare looked like. The most accurate depictions were an engraving and a bust, both made after his death. One painting was believed to have been done during his lifetime, but research has since shown that the painting was altered, leaving scholars and lovers of the Bard still wondering.

Then in 2006 an amazing discovery was made.

While touring the exhibit “Searching for Shake-speare” at The National Portrait Gallery in London, Alec Cobbe saw the famed “false painting” and real-ized that it bore a striking resemblance to a painting that had been in his fam-ily’s collection since the 18th century. Scholars and historians feverishly compared Cobbe’s paint-ing to the engraving that was made for the First Folio (the first printed col-lection of Shakespeare’s plays in 1623).

Historically, engravings were copied from actual paintings. The similarity was remarkable. Moreover, the painting bears a Latin inscription that is a quote from the Roman poet, Horace, to another poet, indicating the profession of the painting’s subject. Lastly, perhaps the most convincing piece of evidence, Cobbe is a distant relative of Henry Wriothesley, the 3rd Earl of Southampton, Shakespeare’s patron. Wriothesley is arguably the person in Shakespeare’s life who would have had the means and interest to commission such a portrait. Further scientific testing has been done to the painting to authenticate its date.

In 2009, the Shakespeare Birth-place Trust in Stratford-upon-Avon announced that the “Cobbe Portrait” (as the painting is now called) is the only likeness we have from Shakespeare’s lifetime.

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Shakespeare Portrait Gallery

Grafton Portrait, 1588. The year is within Shakespeare’s lifetime, however, the clothes are most likely too expensive for what Shakespeare would have been able to afford when he was 24 years old.

Soest Portrait, 1660

Flower Portrait, 1800s. Based on the Droeshout engraving. The painting was made over top of one that was painted in 1609.Janssen Portrait, c. 1610. The one that

was based on the Cobbe portrait. It was altered in 1770 to look more like Shake-speare (i.e. the Droeshout engraving) by making him bald. It has since been restored to its original state.

Sanders Portrait, 1603. Labled as Shake-speare. John Sanders, was an actor in Shakespeare’s company, so the painter knew Shakespeare. However, the subject looks younger than Shakespeare would have been at that time, and there is not a strong likenesses to the other more repu-table paintings.

Chandos Portrait, 1623 or 1610.

Marble Bust, 1620? Shakespeare died in 1616.

Artist Unknown, 1700. Based on the Chandos Portrait.

Engraving by Martin Droeshout, 1623. Until recently, considered the most accurate likeness of Shakespeare during his life, even though it was commissioned for the publication of the First Folio, seven years after his death.

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The Elizabethan Theatre

The writers of the Elizabethan era worked in a very different way than playwrights today. Instead of producing a play independently, they were first required to present a company with their idea for a plot. The leading actors and managers would then decide whether they liked it or not, and offer a down payment for its completion.

This close relationship between the writer and the performers meant that writers created their characters with certain actors in mind. For example, knowing that Richard Burbage was the Chamberlain’s leading man and that he had a good memory for long scripts, Shakespeare created the parts of Richard III and Hamlet for him. As the actor grew older, Shakespeare made his characters more mature.

When Shakespeare finished a play, it was not distributed to the actors in books. Instead, each player received his own ‘role,’ which was a long sheet of parchment with his lines written on it. This meant that he would not see who else was going to be on the stage until they actually rehearsed the scene. How strange we would find this today when, reading a play for the first time, we were unable to flick through the pages of a scene to see who entered when, and what happened next.

Rehearsals were used to sort out the details not specified in the script. Entrances, exits,

costumes, and songs were all expected to be filled in by the actors. There was an area behind the stage called the tiring house, which was used for changing costume during the play. The actors prided themselves on the accessories they wore, and the company even bought clothes from Lords and Knights, to wear upon the stage.

In 1599, a Swiss visitor called Thomas Platter saw the Lord Chamberlain’s production of Julius Caesar and reported that “the actors are most expensively and elaborately costumed.” Performed on September 21st, it may have been the first production shown at the Globe (which had been constructed earlier that year). Constructed out of timber from their previous playhouse “The Theatre,” it could house up to 3000 spectators and was the most magnificent venue London had ever seen.

The stage was covered in straw and measured approximately 43 ft in width by 27 ft in depth, with the audience standing on all three sides. The wall at the back of the stage had a door on both sides for entrances and exits, and a central opening that was normally covered with hangings. Above the stage there was a trapdoor and a windlass for lowering performers down to the stage and, on the stage itself, there was a trapdoor for surprise appearances of witches and the like.

Source: The Royal Shakespeare Company: www.rsc.org.uk

detail of 1647 map of London

the new “Skakespeare’s Globe,” built in 1996, a few blocks from the site of the original Globe in London

Plot Synopsis

Act 1: A confrontation brews between the Capulet and Montague families. In the balmy streets of Verona, Sampson and Gregory (servants of the Capulet family) watch as servants to the Montagues approach. Sampson bites his thumb at them, a gesture of great insult. The fight that ensues boils over until Benvolio draws his sword in an effort to keep the peace. This in turn enrages the war-like Tybalt, who then explains that he hates peace as much as he hates Montagues. The conflict is quelled temporarily when the Prince of Verona explains he will put to death any more men who continue this petty feud.

Lord Capulet explains to Paris, a noble kinsman of the Prince, that he favors him as a suitor to his young daughter, Juliet, but that Juliet is too young and Paris must wait a few years to marry her. Capulet then gives a list to his servant Peter, with instructions to invite guests on the list to the masquerade his family is throwing. Peter mistakes Benvolio and Romeo as regular citizens and invites them to the ball. Romeo, disillusioned over his love of Rosaline, agrees to go if only to see different women.

In the house of Capulet, Juliet is summoned by her mother for to talk about marriage. Juliet says she has not thought about it. Lady Capulet implores Juliet to consider her options soon and Juliet agrees to look fondly upon Paris at the masquerade.

Donning masks, Benvolio, Mercutio, and Romeo attend the masquerade. Romeo becomes enamored with a beautiful girl, who happens to be Juliet. The young lover makes

his way to her, but is soon spotted by Tybalt. Tybalt sends for his rapier, but is discouraged by Capulet, who proclaims that Romeo is well liked in the city, and there will be no such violence at the masquerade between the families. Tybalt obeys, but vows he will not let this insult pass unpunished. Romeo comes upon Juliet, whom he begs to absolve his sins with her kiss, which she obliges. After the two kiss again, Juliet’s nurse approaches and whisks her away to her mother. Romeo asks the nurse who the strange girl is and the nurse replies that she is a Capulet. Romeo is crushed to know he is in love with a Capulet. Juliet, just as enamored by her kiss with this strange man, asks the nurse to find out who he is. When the nurse returns with the information that the strange man is Romeo, a Montague, Juliet laments her fate as well.

1870 oil painting, Ford Maddox Brown

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Act 2: Romeo hides in Juliet’s garden below her balcony while his friends search for him. The young Romeo sees Juliet on her balcony and compares her to the sun, while remaining hidden. Juliet, unaware of Romeo’s presence, laments if he were to truly love her she would give up her name, or he could give up his and their love would be absolved. Romeo, upon hearing this, emerges from the garden and surprises Juliet. The two admit their love for each other. After being called in by her nurse, Juliet returns to her balcony and tells Romeo she will send for him tomorrow, and the two agree on a time of 9 am.

The next morning, Romeo comes upon Friar Lawrence collecting herbs. The Friar is surprised to see Romeo so bedraggled, and assumes he has spent the night in sin with Rosaline before their marriage. Romeo replies that he has found a new love in Juliet, and the Friar notes the fickleness of young love.

Despite his distrust, the Friar agrees to wed the two, on the hope that it will finally end the conflict between the Montagues and Capulets.

Mercutio and Benvolio discuss the disappearance of their friend Romeo, and learn from a servant that he never returned home last night. After disparaging Rosaline, the two also note that Tybalt has sent a letter challenging Romeo to a duel. Mercutio declares his hatred for Tybalt, before Romeo appears. Mercutio persists in mocking Romeo over his love affair with Rosaline, and then notes that Romeo abandoned them last night. Romeo defends his choice, saying the need for such an action was too great, before the Nurse appears. The Nurse asks if one of them is Romeo, and Romeo admits he is. The Nurse cautions Romeo about leading Juliet on, but Romeo exclaims that he is steadfast in his love, and tells the Nurse to get Juliet to Friar Lawrence’s cell, where the two will be wed. The Nurse agrees to deliver the message, and furthermore will set up a ladder of cloth that Romeo can ascend to Juliet’s room on their wedding night.

In the orchard of the Capulets, Juliet awaits the return of her Nurse with news of Romeo. The Nurse returns and tells Juliet that Romeo awaits her in Friar Lawrence’s cell, where the two will finally be married.

The two wed in Friar Laurence’s cell.

Act 3: In the hot Verona streets, Mercutio and Benvolio meet up Tybalt and a group of Capulets. Mercutio taunts Tybalt, provoking him as Romeo approaches. Tybalt accosts Romeo, desiring to duel him. Romeo refuses to duel, as he is now married to Juliet and thus kin to Tybalt. Mercutio responds to this

Title page of the First Folio edition, 1597

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by declaring he will fight Tybalt, and the two duel as Romeo attempts to throw himself in the middle and restore peace. As Romeo does this, Tybalt stabs Mercutio, who dies. Tybalt flees momentarily as Romeo laments the death of Mercutio. Tybalt reappears and Romeo agrees to fight him, killing Tybalt in the ensuing duel. Romeo flees as a group of citizens appear with the Prince. Despite Benvolio’s protests of innocence, the Prince finds Romeo guilty of fighting and decrees that Romeo shall be banished in exile henceforth.

Back at the Capulet estate, The Nurse informs Juliet that Tybalt has been killed by Romeo. Juliet is thrown into despair by the news of the fight and Romeo’s exile. She is unsure that Romeo will even be able to visit her in the night, before the Nurse assures Juliet she knows where Romeo is hiding, and will personally make sure Romeo can visit her.

In the following scene, we find Romeo in the cell of Friar Lawrence, distraught over the events that have just transpired. The Friar assures Romeo that not all is lost, and that he must not give up on his life and love. A plan is set in motion: Romeo is to visit Juliet at night, then flee to nearby Mantua in accordance with his exile. The

Nurse appears, and gives Romeo the ring that Juliet gave her. Romeo prepares to visit Juliet.

Capulet, Lady Capulet, and Paris discuss the recent tragic events that have taken place. Capulet tells Paris that because of all that has transpired recently, he has had no time to ask Juliet her opinion of Paris as a potential husband, but that he believes Juliet will surely respect his wishes with regards to choosing a suitor. He schedules their wedding for Thursday, three days from the present.

The next scene, Romeo and Juliet awaken in Juliet’s quarters. Romeo contends he must leave immediately, as morning approaches and he will be killed if he remains in the city. Juliet protests before accepting the inevitable, and Romeo departs as Lady Capulet approaches Juliet’s quarters. After climbing down her balcony by means of the ladder, Romeo promises Juliet they will meet again, before both note the pale, grave-like look of each other. Lady Capulet enters after Romeo leaves, and finds a grief-stricken Juliet crying. Lady Capulet mistakes her tears as grief over the death

of Tybalt. When Capulet enters and tells Juliet of her

impending engagement to Paris, the young girl declares that she will not do it, and Capulet threatens to disown her should she refuse. Distraught, Juliet turns to the Nurse for advice. When the Nurse advises her to accept her father’s wishes and marry Paris, Juliet agrees to appease her. Juliet then tells the

Poster from The Philadelphia Shakespeare Theatre’s 2014 Production

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Nurse she is going to Friar Lawrence’s cell for a confession, before secretly vowing she will not listen to the Nurse’s advice, and if all goes wrong, she still has the power to take her own life.

Act 4: Friar Lawrence speaks with Paris in his cell about his impending marriage to Juliet. When Juliet appears, Friar Lawrence gets Paris to leave the room under the pretense of hearing Juliet’s confession. When the two are alone, Juliet brandishes a knife, declaring she would rather die than marry Paris. The two hatch a plan: Juliet will agree to marry Paris and on the night before the wedding, she will drink a sleeping potion. The Capulet family will thus think the sleeping Juliet to be dead and place her in their ancestral tomb. There in the tomb, Juliet will finally awaken to Romeo (whom the Friar will inform) and the two will elope and live in Mantua happily ever after.

In the following scene, Juliet returns home and apologizes for her disobedience to her father’s wishes. She agrees to marry Paris, and Capulet is overjoyed and moves the wedding ahead to Wednesday.

Juliet begs the Nurse and her mother to be left alone for the night. When the two oblige, the girl takes out the sleeping potion and clutches the vial, afraid of what may happen should anything go wrong. After having a vision of Tybalt’s ghost searching for Romeo, the young Juliet drinks down the potion.

The next morning, the Capulets prepare for Juliet’s wedding to Paris. When the Nurse finds Juliet dead in her bed, the family joins her in mourning along with Paris. Friar Lawrence comforts the family, saying she has

gone to a better place. The family begins to make funeral preparations.

Act 5: On Wednesday morning in Mantua, Romeo talks to his servant Balthasar, who informs him that Juliet has been found dead at her home. Romeo is distraught and seeks out horses to ride to Verona before going to an apothecary to buy poison. Romeo bribes the apothecary, a poor man who cannot refuse Romeo’s money, despite the fact that selling poison carries a death sentence. Romeo buys the poison, and when alone declares his intention of killing himself at Juliet’s tomb.

In the scene that follows, Friar John tells Friar Laurence that he was unable to deliver the

Poster from an 1820 English production of Romeo and Juliet.

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note to Romeo informing him of Juliet’s false death, and thus Romeo still believes the death to be real. Friar Lawrence, troubled over this news, sends for a crowbar, knowing he will have to free Juliet from her tomb himself, as Romeo is unaware of the plan. The Friar then sends out another message to Romeo, hoping to reach the youth in time.

Paris and his page enter a church courtyard, with the intention of scattering flowers about Juliet’s tomb below. Before long, Paris hears others approaching, and he and his page hide. Romeo enters the scene with his servant Balthasar, whom he tells he is reclaiming a ring he gave to Juliet. After giving Balthasar a letter to deliver to his family, Romeo orders his servant to leave, but Balthasar, suspicious of Romeo, lingers. Paris (in hiding) recognizes Romeo as the man who killed Tybalt, because he suspects Juliet of dying over the grief of losing her cousin Tybalt, Paris is enraged that Romeo has come here. Paris confronts Romeo, the two duel and Paris is killed by Romeo. As the two duel, Paris’ page runs away to find the night watch. With his dying breath, Paris asks that Romeo lay him by Juliet’s tomb and Romeo agrees.

After descending into the tomb carrying Paris, Romeo is awestruck by how Juliet still has the appearance of being alive, and vows to spend eternity with her, before kissing her and drinking the poison, ending his life. Just then, Friar Lawrence appears at the churchyard, and after speaking to Balthasar, he descends into the crypt to find Paris and Romeo dead. Juliet awakens to find a panicked Friar Lawrence, who tells her of Paris and Romeo’s death before imploring her to leave with him, as the night watch is approaching. Friar Lawrence flees without Juliet, fearing retribution by the night watch should he stay. Juliet gazes at the body of her husband,

before trying to kiss Romeo’s lips and absorb what little poison was left on them. When this does not work, Juliet draws Romeo’s dagger and stabs herself, collapsing in death on top of her love.

Up in the courtyard, the night watch and the Prince finally arrive. They find Balthasar and Friar Lawrence, and along with the Capulets, they descend into the tomb. Montague then arrives, after declaring his wife dead of grief over the exile of her son. Friar Lawrence then tells the Prince of the secret marriage between Romeo and Juliet, and the Prince scolds both families for their foolish feuding, which cost so many lives. Both Capulet and Montague clasp hands, agreeing to put their feud behind them and that they will each raise a statue of gold in the likeness of Romeo and Juliet. The Prince pronounces the story an outright tragedy, saying there has never been “a story with more woe/Than this of Juliet and her Romeo” (5.3.309).

1823 oil painting by Francesco Hayez

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Did You Know?

• The original title for Romeo and Julietwas "An Excellent conceited Tragedieof Romeo and Juliet."

• 90% of the play is written in verse,with only 10% in prose, or theordinary language people use that isfree of poetic meter or rhythmicpattern.

• In 1748, David Garrick staged aversion with no mention of Rosaline,Romeo’s first love, because Garrickfelt this made Romeo appear toofickle.

• In March 1662, Mary Saundersonbecame the first woman to play Julietprofessionally. Women were notallowed to act on stage until 1660.Young boys initially played the role ofJuliet.

• The musical West Side Story, abouttwo rival street gangs, is a famousadaptation of Romeo and Juliet. Thestage musical was later adapted intoa 1961 film starring Natalie Wood.

• The narrative poem, "The TragicallHistorye of Romeus and Juliet" byArthur Brooke was published in 1562and was the first English version ofthe Romeo and Juliet story. Otherversions, including two Italianinterpretations, date back to the1530s.

• Famous English writer, SamuelPepys, most noted for his diarieschronicling the Great Fire of London,said of a production of Romeo and

Juliet: "a play of itself the worst that I have ever heard in my life."

• Many composers, such as Bellini,Berlioz, and Tchaikovsky havecreated musical responses to theRomeo and Juliet story.

• Romeo and Juliet contains six stagedeaths. Compared to some ofShakespeare’s other tragedies, this isnothing! Hamlet (8), King Lear (9),Macbeth (10), and Titus Andronicus(14) all have more.

• Verona, the setting of Romeo andJuliet, was considered the height offashion in Elizabethan England.

New York City Ballet's production poster of Romeo and Juliet.

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Romeo and Juliet on Stage and Screen

Olivia Hussey and Leonard Whiting star as Juliet and

Romeo in Franco Zeffirelli’s 1968 film Romeo and Juliet.

Adapted by the writer of Downton Abbey, Julian Fellows,

this 2013 film stars Damian Lewis, Ed Westwick, and Paul

Giamatti.

Baz Lurhmann’s 1996 film, Romeo + Juliet starred

Leonardo DiCaprio and Clare Danes as the young lovers.

2013 Broadway production starring Lord of the Rings actor

Orlando Bloom and Condola Rashad.

James McAvoy and Emily Blunt voiced two gnomes in love in

the 2011 animated film Gnomeo & Juliet.

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Marriage in Elizabethan Times

By: Brittany Thomas

The western world has glorified the meaning of love, relationships, and marriage to make it become one of the ultimate spiritual journeys into happiness, but this wasn’t always the case. People never used to marry for love, or at least, what we think of as love. In the 15th through the 17th century, two newlyweds were often lucky to be able to have a meaningful friendship before exchanging vows. Times have surely changed since the times of Shakespeare and Queen Elizabeth!

What indeed were changing were the traditional understandings of the “family unit.” The growth of industry was pushing people out of the countryside and into the city. Merchant life and the developing aspiration or middle class was beginning to increasingly take hold in society. This significantly changed the standard family image. Where as the traditional family married young, had many children, and maintained close relations with extended families, the new wave of families were more condensed. With less property, and more industrial jobs, the families became smaller. On average, a family would have between two to three children. In addition to this, as apprenticeships, or the learning of a trade with a highly skilled craftsman, became popular with both sexes, people began to marry later. This allowed them to establish a trade before having children. Many people then began to marry in their mid- to late-20s.

The Ceremony and Customs

In the time of Shakespeare and Queen Elizabeth, marriage did not come with the standard diamond ring and long white dress. Though these practices were certainly active in this time, the ways of

proposal and vowing to be loyal and pure were not the same as what is generally thought of in the 21st century. To begin with, loved ones did indeed give rings to one another, but in a rather different manner than today. Not only did woman also give rings to their fiancés but also the ring was used as a moderate wedding gift between betrothed, not so much as a proposal for lifelong matrimony. In addition, the gift would not be assumed to be a diamond ring as all types of jewelry was given, including bracelets, gimmel rings, and lockets.

The meaning behind the wedding dress was also rather different than that of today. Yes, woman wore dresses, but the wedding dress was of no exceptional fashion or color. In general the bride-to-be would “doll-up” an old dress, adding ribbons or accessories, or she would purchase or make a new dress for the wedding day. Later, the dress would likely be turned into another piece of the young lady’s wardrobe.

Why get married?

The purpose of marriage was to create a new family unit. In the years between the Jacobean and Elizabethan eras, it would have been considered foolish to marry for love. (Though many were optimistic that love may arise.)

Most importantly, when it came to marriage, was the raising of children. It was expected that every woman should

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bare a child, preferably male. Regardless of sex, the children are the property of the parents. Children were expected to treat their mother and father with the same respect a servant would bestow on a master.

When it came to status of the family and children, this was solely dependent on the man. A man could marry down in his social class and the woman would be able to become a “lady,” but the opposite would not yield the same results. Regardless, many men would prefer to marry a woman of a higher social standing or within their social class as they would have the right to all their wife’s assets.

Generally, all men aim to become married. For the majority of the population of men, marriage was important for different reasons. An unmarried man would not be able to consider himself a head of household. As a result, he would be unable to run for political office.

Children

In general, women mattered very little in a marriage. Though they were obviously a vital part in creating a family, the status of the woman depended of her husband, and the focus was put on him and the children.

Young boys would reach a rite of passage between the ages of 3 and 7. Between those ages, boys would go through a “breeching” ceremony where they ceremoniously began to fill their role as a male, adult figure and not merely a child. This is the age where Elizabethan children began to learn their societal roles: boys would attend a school and young

girls would aide in helping their mothers keep-house.

At this time, the rising middle class did find it exceptionally important to learn Latin, the language of the elite. For parents of any means, they would send their young boys off to places such as The New Kings School where William Shakespeare was said to have attended. Here boys would study Latin and fundamental arithmetic.

Women

Upon entering the marriage, the woman immediately became property of her husband. With this kind of social expectation, some woman feared marriage. Still, it was expected that all woman became married (usually around the mid- to late-20s). Even joining the covenant was no longer an acceptable choice for women at this time. To be unwed was to disgrace their entire family.

The only women who were generally given any authority over their own lives were widows. Women who had lost a husband

were able to own property and even manage his business. In addition to this, if the woman did not yet bare any children before the death of her husband, she was then entitled to all of his estates after the bills and taxes were paid. If she did have children with her late husband, she was entitled to 1/3 of his wealth, while the rest be given to the children.

Still being an unmarried woman, even a widow, comes with social stigmas and prejudices. She would not likely be taken seriously by much of the male dominated society, and her signature would most likely not be considered legally binding. It is unfortunately essential for the woman to wed to secure her interest, and the interests of her children. Otherwise she will likely be taken advantage of.

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A Bit About Setting

Verona: a town intertwined with memories of Shakespeare. This rustic northern Italian city, having had two of Shakespeare’s works set in it (Romeo & Juliet, The Two Gentlemen of Verona) has a thriving Shakespearean-based tourism industry. A visit to Verona would not be complete without visiting Casa di Giulietta or Juliet’s House, where lovers can stand and gaze upon Juliet’s balcony and post love notes in the courtyard below.

Italian culture at the time of Shakespeare was deeply appreciated and romanticized by the English. For Shakespeare, an Italian city such as Verona likely represented a far-away land of uncertainty, passion, and

intrigue, the perfect setting choice for a romance between two young people such as Romeo and Juliet.

Anticipating and adapting to garner similar intrigue, Director David O’Connor has set the play not in the Verona of the past, but in a mysterious city of the future. The magic and passion of such a beloved work proves to be reinvigorated through this setting change, one that promises to engage a new generation of patrons with the same appeal of fervor and mystique that Shakespeare surely felt when choosing his fair Verona as the setting.

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Meet the Cast & Crew

Victoria Rose Bonito - Juliet

Do you have a favorite Shakespeare play?

Incidentally, Romeo and Juliet! It was the first Shakespearean play I read, and I fell in love with the language, the story, and the characters. I have been waiting for the opportunity to play Juliet since seventh grade!

What was your experience like studying Shakespeare as a high school student?

I read the classics from eighth grade on--Romeo and Juliet, Macbeth, Hamlet, Taming of the Shrew, A Midsummer Night's Dream, Othello, and The Merchant of Venice--and I was fortunate enough to have incredibly enthusiastic teachers who brought the plays to life. They allowed and encouraged us to play with the material on our feet, with more of an acting bent than just a reading focus, and that is where Shakespeare lives and breathes. While his poetry is beautiful on the page, when you hear the words and see the action, something magical happens. I also was in an after-school Shakespeare Club that performed in an

annual competition at Immaculata University, so I stayed quite active in Shakespeare-focused performances in addition to the normal drama club and musical productions.

What new thing did you learn about the play or your character(s) by being in this production?

I hope to learn more and more about how modern these characters really are. I feel like people often shy away from Shakespeare because of the "classical" nature, assuming that these plays are all about people who speak a different language and cannot relate to anything contemporary. Perhaps Romeo and Juliet are the most obvious exceptions to this assumption. They are impulsive, passionate, smart, and always active; I am excited to learn how this production "updates" the play in terms of making it accessible to an equally young, passionate audience.

Who do you think is responsible for the tragedy of the play?

This is a difficult question to answer, as the play is laden with references to Fate's role in the lovers' untimely ends. In a way, they are doomed from the start, "star-crossed," and inescapably so. However, I do not think they passively accept this fate. They are so pressured and restricted by the binaries in their society that they have little control over anything; we rarely see Juliet unchaperoned or outside the Capulet "monument" (whether her family's home or the tomb). In a way, the continuance of the family feud is to blame, as well as the expectations set for the younger generations of the families. As a young man, Romeo is expected to take a woman and have a family; as a Montague, he

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necessarily must oppose (to the point of death if necessary) all Capulets. Once he marries Juliet, he cannot fulfill both expected roles, and extreme measures are necessary because a sensible conversation between the households is impossible. The balcony scene, their secret marriage, and the hope of a life together then defies the system that they are not strong enough to battle. So, in a sense, Romeo and Juliet cause their own tragedies by choosing to take their own lives--perhaps the last thing they can control--but in a sense, they also escape, attaining a sort of cosmic oneness that is otherwise unattainable in Verona.

How do you think young people today can relate the issues and themes presented in Romeo and Juliet?

The issues and themes revolve around family problems, falling in love for the first time, reconciling friends and romantic relationships, and in short, many things that seems to be amplified in adolescence. Romeo and Juliet are of the age that these challenges are both new and daunting--young people can relate because they may very well be dealing with the same issues right now. Finding voice in opposition to one's parents, fighting for a meaningful relationship, and having the guts to define and redefine love is at the heart of this play and central to these characters' lives. What is to say that the young people in the audience don't feel the same way?

What is your favorite moment in this play?

Textually, I am in love with the "Give me my Romeo/ and when he shall die" speech for its imagery, passion, and candor. I also think the first time Romeo and Juliet meet at the Capulet ball is pretty magical. The first set of dialogue they exchange form a sonnet (oh, that crafty Shakespeare!) and it is fueled with as much romantic fervor and poetry as

danger, wit, and first-time flirting. There is something about this moment happening as if the lovers are alone in the middle of a crowded room that is absolutely enchanting.

What do you want students to remember about this production?

I hope students will consider the themes in Romeo and Juliet and not let the conversation stop with the lovers' deaths. Love is real and it's worth it to fight for what you believe in. You can control your own destiny. But also talk about it. Extreme measures are not always the answer, but perhaps changing an ancient system is. Live here and now. Take a chance.

Olivia Hussey as Juliet in Franco Zeffierlli’s 1968 film Romeo and Juliet.

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Akeem Davis - Romeo


No, I don't prefer one Shakespeare over another. Though I am OBSESSED with Othello and Merchant of Venice because of the zealously racist and human way both Othello and Shylock are written. I am really just being introduced to the Histories and I hope to play both Hal and Hotspur one day.


Of course in high school we studied Romeo and Juliet in 9th grade and then Hamlet in 12th grade. My AP Literature class really delved into Hamlet and evaluated the play thoroughly so that we could write well about it on the AP exam. We watched the Kenneth Branagh film version and seeing Kate Winslet's work as Ophelia changed the way I viewed the material. She was phenomenal. In high school I dealt with a lot of Shakespeare in my Drama class. I performed a Hamlet soliloquy and auditioned with that for colleges. I played a few roles in "15 Minute Hamlet.” I played Bottom in a scene from A Midsummer Night's Dream and I did a load of sonnets.


I hope to learn that the language is still alive; that all of the choices that have been made by countless actors (many of whom I have seen on stage and film) have no bearing on what my Romeos will think, say, do, and become.


While Romeo kills a man, an action for which he is responsible, the larger tragedy - the loss of Romeo and Juliet along with their romance - falls squarely on the shoulders of Friar Laurence. In my opinion, the Friar enabled these kids to tie up their families in a wedding knot and ignored the strife that was boiling up on both sides. The Friar also - which doesn't fall in line with his holiness - encouraged Juliet and Romeo to lie, to give false pretense about their marriage, having them hide the information that would have halted all of the death that ensues.


I think young people, teenagers specifically, can relate to the tension of the opening of the play. I think the hotbed of the play is the Hate that the Montagues and Capulets bear for one another. I also think that older teenagers are just beginning to understand intense, immediate infatuation, which happens between Romeo and Juliet. The catch is that teenagers aren't always aware of how to categorize the feelings their hormones and minds combine to produce.


I have a few moments that I really like! I like the moment between Tybalt and

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Capulet at the party; I like the moment between Tybalt and Romeo before Tybalt kills Mercutio; I like Romeo's Banished moment.

What do you want student to remember about this production?

I would like students to leave this production feeling shocked about how visceral it was and how clearly they understood us - our action and our verbal action.

Paul Giamatti as Friar Laurence in the 2013 film Romeo and Juliet, adapted by Julian Fellows.

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J Hernandez - Mercutio


King Lear. The best.


Truth be told: we didn't go over a lot of Shakespeare in high school, but that's a whole other story. No room for it w/standardized testing and what not. I was introduced to Romeo and Juliet when I was in junior high, loved every minute of it, watched the Zeffirelli Romeo and Juliet, read the whole text aloud with the entire class, had insult games using nothing but classical and renaissance words and references. All of us were assigned personal projects and I made a Romeo and Juliet comic book along with costume renderings. Being introduced to Shakespeare at such a young age was one of the most rewarding experiences I ever had in all my years of public education.


Mercutio gets himself into trouble for all the right reasons. When you think about it, he has just as much honor as Tybalt,

despite his penchant for dirty-talk, narcissism, and nihilist tendencies.


If Peter knew how to read, no one would end up gettin' themselves perished.


I think young people can relate to the ferocity and the fiery nature of the citizens of Verona. We live in a tumultuous time, some folks still aren't too accepting of others, the word "hate" gets thrown around way too much and that's when good people start dropping like flies. It's a shame, but, like I said, this is the world we live in today. Take out the names "Capulet" and "Montague" and exchange them with two other (even larger) entities that don't see eye to eye... The unfortunate thing about it is that you'll always have a pair of singular individuals and/or groups who don't get along.


You even need to ask? "A PLAGUE O'BOTH YOUR HOUSES!"


What I'd like them to remember (in a much broader sense) is that the language is a lot more accessible then they think it is ... just takes a little use of the ol' context clues.

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David O’Connor – Director


Measure for Measure. I am into the problem plays. An ineffective liberal ruler hands power to a conservative, authoritarian dictator? Absolute power corrupts absolutely. Fun!


I read Romeo and Juliet in 9th grade. Mostly what I remember is watching the old movie with the guys in funny pants, and seeing Juliet and Romeo mostly unclothed in bed. (Hadn't seen much of that in films, yet!) But lots of words I did not understand. What did this have to do with me?


I learned tons of new things working on this production. One thing that is sticking out to me right now is the scene where Romeo is leaving Juliet after they have spent the night together. Because of the film version, I have always thought that scene happened at like 6 in the morning, just after the sun came up. But really, it

happens in the middle of the night. That makes the scene a lot more dangerous and exciting!


Like any problem in the world, the problem is caused by everyone who acts, and everyone who does nothing. Romeo and Juliet make the most bad decisions, and they lie a lot. But they are trying to get out from underneath an oppressive system that does not address their needs. Overall, I would blame the system which subjugates children to their parents. Everyone is doing the best they can with the system handed to them. Most of us succumb to the system. Romeo and Juliet fight it. And get crushed by it. And then the people who are in power feel bad, shake hands, raise statues. But is everything better after that?

How do you think young people today can relate to the issues and themes presented in Romeo and Juliet?

Here are people who want to find someone special and dive into that relationship and pretend nothing else exists. And that is awesome. But it can't last. How can we find balance between that desire to be separate and the need to be part of a community?


That is such a hard question! Today, it is when Juliet rejects the nurse. This is the place where Juliet makes her most pure, intense, and ultimately disastrous decision.


Romeo and Juliet's courage.

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J.J. Van Name - Nurse


The Winter’s Tale. Paulina, the most fearless and outspoken female character of The Bard’s, who stands up to anyone who is a force for evil.


I actually don’t remember, which doesn’t speak well for whatever happened in HS with Shakespeare. We certainly didn’t have the opportunity of a Shakespeare Theatre coming to our school to work on plays with us, and going to see productions. I do remember studying and performing it in college (including The Nurse in Romeo & Juliet!) and I loved it! That’s when it all began for me.


Having played this role a couple of times already, I am very excited to work with a new director that I like very much, David O’Connor. We collaborated on Cymbeline in The Philadelphia Shakespeare Theatre’s Summer training program, The Classical Acting Academy. I did the Text

Coaching, working on the language with some of the actors during rehearsal.


SHAKESPEARE! It is a stunning confluence of the various weaknesses of the human condition in each of the characters involved, and some random universal bad luck.

How do you think young people today can relate to the issues and themes presented in Romeo and Juliet?

How couldn’t they? Instantaneous love and sexual attraction, parental disapproval, teenage rebellion, years of inter-community hatred based on who ever really knows exactly what, which is perpetuated and passed down thru the generations.


So many. Romeo and Juliet in the early morning, waking from their first night together.


I am excited to see what they do remember…what strikes them most deeply, what might possibly change their thinking.

Clare Danes and Leonardo DiCaprio in Baz Lurhmann’s Romeo + Juliet.

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During the Performance

A theatrical production depends on much more than just the language of the play to convey the meaning of the words and the mood of the characters. Everything you see is a part of a complete visual metaphor that reflects the director’s interpretations of the play.

As you watch this production, look at the way the following elements work together to create a specific world in which the characters live.

Music/Sound: How does the music and sound effects contribute to the overall mood of the play and help to set the tone for specific scenes?

Costumes: How do the costumes help to differentiate the characters? How do costumes convey status or allegiances?

Stage Movement/Combat: Keep an eye out for the way different characters move. Which movements did you notice were used for each role? What about the stage combat? Did the fighting look real?

Language: Notice how the characters speak. Is there a difference in the kind of language they use? Which characters use more formal language? Notice when characters speak in verse, prose, and rhyme.

Visual Images: If you read the play beforehand, how does seeing it help you to understand it better? Were you surprised by anything or did the production cause you to think about the play in a different way?

After the Performance

Now that you have seen the play, here are some questions and discussion-starters to help you reflect on what you have experienced.

Do you feel more sympathetic towards one character?

Did you find the violence believable?

Romeo and Juliet is a tragedy and the sad events of the play affect many characters. Whose tragedy is it? Who is ultimately responsible for what happens?

What motivates the characters to make the choices they make?

What part does Fate have to play?

How do the characters change, if at all?

Does the play have a hero? A villain? If so, who might it be?

What do you feel Romeo and Juliet is ultimately about?

How do you feel that theme relates to today’s world?

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Documents

Romeo and Juliet - The Philadelphia Shakespeare Festival€¦ · OTHELLO MACBETH OPHELIA SHYLOCK THAISA JULIET TOUCHSTONE CAESAR PROSPERO Romeo and Juliet. Pennsylvania Department