Description:
It’s the world’s most famous love story; and many consider Shakespeare to be the world’s greatest writer. Girls can sing “I Feel pretty” and boys “I just met a girl named Maria” from West Side Story, the New York musical inspired by Romeo and Juliet. Play the Romeo and Juliet Game with your students. Research answers to questions about Shakespeare, Italy and New York.
Students can prepare masks and Capulet and Montague coats of arms for the stage. They will enjoy acting this tragic love story. The excerpt of the play in this course ends with Romeo killing Juliet’s cousin, Tybalt. Get your students to invent and perform their own ending. Later you can produce the full version
Main Objectives:
At the end of the session the students will be able to:
From the start immerse the students in speaking English.
Only if necessary allow them to use a little of their own language.
You have a choice of helping your students to produce:
Tips for Productions for either Stage or audio production:
For the Stage Production
For the Audio Production
For conventional English learning (which will also relate to the play).
Give a card of the following (yellow, green, turquoise, blue, mauve, pink, orange or white) to each of the students. Then let them do their best to remember in their own words what is on the card. Then let them find another student with the same colour card and describe their character to one another.
| Asking | Saying Yes | Saying No |
| Can I? |
Yes, certainly |
Well I’m afraid + reason |
| Could I…? Could I possibly…? Is it all right if I…? Do you think I could…? | Yes, of course. Yes, that’s fine. Certainly. | Well, the problem is… |
| Do you mind if I…? | No, not at all. No, of course not | Sorry, but … |
Asking others to do things – making requests.
| Asking | Saying Yes | Saying No |
| Can you? | Yes, sure | Well, I’m not sure, because …. |
| Could you…? Is it all right if you…? Do you think you could…? Will you…? Would you…? | Yes, of course. Certainly. | Well, the problem is Sorry, but… |
| Do you mind -ing…? Would you mind -ing…? | No, not at all. Of course not. | I’m sorry I cannot, because + reason |
Use ‘Would you mind if I…? Could I possibly…? Could you possibly…? Do you think you could…? to sound more polite.
Remember that ‘Do you mind…?’ and ‘Would you mind…?’ mean ‘Is it a problem for you?’ so the polite answer when we ‘say yes’ is ‘No’.
Much”, “many”, and “a lot of” indicate a large quantity of something, for example “I have a lot of friends ” means I have a large quantity of friends.
Many with countable nouns. (Students, desks, windows)
Example:
How many students/teachers/desks… are there? How many times has Romeo fallen in love?
Using “Must” and “Mustn’t” in Present, Past, and Future.
Study the chart below to learn how “must” and “should” behave in different contexts.
| Modal Use |
Positive Forms 1. = Present 2. = Past 3. = Future |
Negative Forms 1. = Present 2. = Past 3. = Future |
You can also use: |
|
must certainty |
1. That must be Friar Lawrence. They said he was a priest. 2. That must have been the right restaurant. There are no other restaurants on this street. 3. NO FUTURE FORM |
1. That mustn’t be Jerry. She is supposed to be fat. 2. That mustn’t have been the right restaurant. I guess there is another one around here somewhere. 3. NO FUTURE FORM |
have to |
| mustn’t prohibition |
You mustn’t fight in the streets any longer or you will be put to death. You must not forget to take your malaria medication while you are in the tropics. Prohibition usually refer to the near future. |
||
|
must strong recommendation |
1. You must take some time off and get some rest. 2. SHIFT TO “SHOULD” You should have taken some time off last week to get some rest. 3. SHIFT TO “SHOULD” You should take some time off next week to get some rest. |
1. You mustn’t drink so much. It’s not good for your health. 2. SHIFT TO “SHOULD” You shouldn’t have drunk so much. That caused the accident. 3. SHIFT TO “SHOULD” You shouldn’t drink at the party. You are going to be the designated driver. |
should |
|
must necessity |
1. You must have a permit to enter the national park. 2. SHIFT TO “HAVE TO” We had to have a permit to enter the park. 3. We must get a permit to enter the park next week. |
1. SHIFT TO “HAVE TO” We don’t have to get a permit to enter the national park. >2. SHIFT TO “HAVE TO” We didn’t have to get a permit to enter the national park. 3. SHIFT TO “HAVE TO” We won’t have to get a permit to enter the national park. |
have to |
A. Fill the gaps with can, could, have to, must, mustn’t, might or should.
If you want to get a better feeling for how the city is laid out, you ……. walk downtown and explore the waterfront.
Hiking the trail to the peak________be dangerous if you are not well prepared for dramatic weather changes. You ________research the route a little more before you attempt the ascent.
Dave: ________you hold your breath for more than a minute? Nathan: No, I ________.
Jenny’s engagement ring is enormous! It________have cost a fortune.
I________speak Arabic fluently when I was a child and we lived in Egypt. But after we moved back to Canada, I had very little exposure to the language and forgot almost everything I knew as a child. Now, I________just say a few things in the language.
The nurse ________run, but she ________walk
Tybalt __________ Forgive Romeo, he is too angry.
Benvolio loves peace, but he ________ stop the Montagues and Capulets fighting.
No, I’m sorry you _______have this knife. It’s too dangerous.
She can’t write but she ________read!
He ________watch that cartoon on TV. It’s only available on DVD’s.
Yes, of course you ________have a glass of water.
No, I _______hear you. Speak up, please.
Feel pretty
Oh so pretty
I feel pretty and witty and gay
And I pity
Any girl who isn’t me today
I feel charming
Oh so charming
It’s alarming how charming I feel
And so pretty
That I hardly can believe I’m real
See the pretty girl in that mirror there?
Who can that attractive girl be?
Such a pretty face
Such a pretty dress
Such a pretty smile
Such a pretty me!
I feel stunning
And entrancing
Feel like running
And dancing for joy
For I’m loved
By a pretty wonderful boy
The Teacher explains that in this course they will have fun making drama.
Through drama they will learn English without effort.
Also they will absorb a feeling for how to tell a story
The students will act.
They will work as a team.
Now read both the stage and the audio versions with them.
Discuss which version they would like to produce and perform
There are 22 parts: 18 male (but many have only one short speech and can be doubled) and 4 female parts in both the stage and the audio plays.
In the stage version there are also many non-speaking parts: dancers and Prince Escalus’s soldiers.
Discuss which part the students would like to play.
Some of the characters in the stage version can double as stage hands.
Some students might like to create the music.
Ask them which version, the stage or the audio, they would like to produce and perform. Explain what is involved.
Explain that their family and friends will be able to come to the production (stage) or read and hear (audio) what you have done.
Also their families and friends can help them prepare for the productions.
Later they can write some new endings to the play
Get the students to write at least two sentences each about Benvolio, Romeo, Tybalt, Nurse, Capulet, Lady Capulet, Juliet, Friar Lawrence, Mercutio, and Paris.
Then let them read these sentences to the rest of the class and get the class to say “true” or “false”.
You can find the text of the original play of Romeo and Juliet here
This may help you to help the students with more to say about these characters. Ask questions of the different groups about the drama and find out which group can answer the most questions about “Romeo and Juliet”
In what town and country does the play begin?
>What two families were enemies?
In what year was the play first published? See wikipedia
What was an insult in Verona at that time?
Is Romeo and Juliet a tragedy or a comedy?
Which famous Italian poet, before Shakespeare’s time, mentioned the Montagues and Capulets?
Who tried to stop the first fight in the streets of Verona?
Who tried to stop the second fight in the streets of Verona?
What was the name of the Prince?
Who performs Romeo and Juliet’s marriage?
Who kills Mercutio?
Who persuades Romeo to attend the Capulet’s party?
With whom is Romeo madly in love at the beginning of the play?
Why does Tybalt challenge Romeo to a duel?
For Stage help and encourage the students to paint and design backdrops or construct scenery for the street scene in Verona, the Capulet’s palace, Juliet’s balcony, Friar Lawrence’s church.
Help and encourage them to find the props. Suggest they ask their families to help.
Get the actors/stage hands to practice moving the backdrops and props.
Help them to prepare the music and the sound effects.
Let them practice playing the music in and fading it out. The answer of course is music.
Music can also be helpful in stage productions particularly while stage hands are moving backdrops, props and furniture.
Help and encourage them to design and create costumes.
While they are doing the above they can learn and practice their lines.
In the stage version tell them to think about where the audience will be and always face the audience as much as they can.
For Audio the teacher should encourage the students to think about the use of music by asking them the following questions:
What is a good way to end a scene and set the mood for the next scene?
The answer of course is music. This can also be helpful in stage productions particularly while stage hands are moving backdrops, props and furniture.
Audio drama consists of speech, sound effects and music. How would the student list these components in order of importance?
Audio drama music can be happy or sad. What other emotions can music express? Ask the students to think of at least five more emotions.
Usually songs do not work well as a background to speech as they can make it difficult to concentrate on the speech. What sort of music works better?
Would classical music and film and TV music provide wide emotional range and many moods? Do the students have any other suggestion?
How would your students prevent the music ‘drowning’ the narration and dialogue?
A good way to emphasize a line of dialogue is to insert a sting, a single long note or a riff, a short repeated phrase of a few notes. The Red Violin film score contains some good examples.
Can the students suggest where they might include stings or riffs in the “Romeo and Juliet” scripts for both stage and audio?
Let the students tell you the story of “Romeo and Juliet” in their own words.
Then get them to write – if possible for homework – a synopsis in their own words of the stage or audio script.
Rehearse the play
Perform the stage and/or audio play
If you have the equipment and technicians and the extra time involved, audio record the play.
And/or Video the stage rehearsal and performance.
It will be very important for the students to see and hear what they have achieved. Praise them but also help and encourage them to do even better next time. (See at the bottom other plays they can perform.
Tell them not to be frightened to make mistakes. Mistakes are a useful learning process.
There will be phonics advice on the underlined words in the script.
Let’s listen to the Phonics advice. Listen to and get the students to practice saying the words: insult. Montagues, swords, thumb, cowardly, thrust, drawn, crutch, rebellious subjects, approached, injured, and Rosaline
Listen to stage pronunciation recording. Let the students listen to stress and intonation. Play and pause. Let them repeat the speeches.
Help the students to use the internet to research some background to the play:
About how many plays did he write and how many sonnets? See Wikipedia and Absolute Shakespeare
What was the name of his wife?
About how many million results does a google search for Shakespeare return?
About how many English words did he invent? Name at least 20.
About how many biographies have been written about him?
Name at least ten of his plays, including tragedies, comedies and historical plays.
Write three or more sentence synopses of at least four of his plays.
Who was the Queen and then who was the King on the English throne during his lifetime?
What was the first theatre in London to be built by actors for actors?
Give the first line of 5 of Shakespeare’s sonnets.
Was Romeo and Juliet based on a true story?
Due to its shape, (see map below), Italy is often referred to as lo Stivale (the Boot) With 61 million inhabitants, it is the 5th most populous country in Europe (after Russia, Germany, United Kingdom and France).
What is the capital of Italy?
Two thousand years ago which was the largest empire in the world?
Which is the oldest university in the world?
Name at least five Italian city states.
What did Dante do? Mention his most famous work.
Where did Marco Polo travel to?
What did Leonardo da Vinci do? Mention at least three of his most famous works.
What did Michelangelo do? Mention at least three of his most famous works.
Who was the first Pope?
How many Popes have there been?
What did Galileo discover?
What did Columbus discover?
Who was Cosimo de Medici?
Mention at least two Italian opera composers.
Who was the prime minister when Italy entered the Second World War?
Mention at least two Italian luxury cars.
Mention at least two Italian football teams.
Mention at least two Italian fashion houses.
What did the Dutch call New York?
How many languages are spoken in New York?
What was the first city in the USA to have skyscrapers?
Who designed the Statue of Liberty?
What major river meets the sea at New York?
Which future King of England was New York named after?
Exercise: Write at least three sentences about slavery in New York
How many people died as a result of the terrorist attack on the World Trade Centre?
Exercise: Write at least three sentences about the attack.
Exercise: Write at least three sentences about the attractions of Central Park.
Exercise: Write at least three sentences about what happens in Silicon Valley.
Exercise: Write at least three sentences about why New York is sometimes called the cultural capital of the world
West Side Story (1961) the award winning musical based on Romeo and Juliet and set in New York.
|
Characters |
Backgrounds |
Props |
Music and Sound effects |
|
Benvolio on the side of the Montagues. |
Street scene Verona |
Swords |
Romeo and Juliet Overture by Tchaikovsky |
|
Capulet, the leader of the family, enemy to the Montagues, father of Juliet |
Capulet Palace |
Masks |
Footsteps on cobbles |
|
Lady Capulet, mother of Juliet. She was married at Juliet’s age |
Juliet’s balcony |
Large potted plants. May be small trees |
Unsheathing swords |
|
Montague, head of the family, enemy to the Capulets |
Friar Lawrence church |
A wall which Romeo can climb |
Swords falling to ground |
|
Lady Montague, the mother of Romeo |
Orchard at night |
A balcony for Juliet to stand on and Romeo to climb |
Nurses footsteps approaching up staircase and perhaps heavy breathing |
|
Romeo |
More Characters |
The back of the balcony could be part of the church |
Medieval Music – Three Basse Dance |
|
Juliet |
Gregory |
Hooting of owl |
|
|
Paris, who is Capulet’s choice of husband for Juliet |
Sampson |
Church music. Gregorian chant |
|
|
Nurse. She has looked after Juliet since she was a child. |
Abraham |
||
|
Friar Lawrence, confessor to both Romeo and Juliet. He belongs to the order of monks founded by Francis of Assisi. |
Balthasar |
||
|
Tybalt |
Cousin Capulet can be doubled with other parts |
||
|
Prince Escalus |
Crowd 1, 2. 3, 4, 5 can be doubled with other parts |
||
|
Cousin Capulet can be doubled with other parts |
2 servants |
||
|
Prince’s Soldiers |
Dancers and Prince’s soldiers |
Costume Suggestions
|
ACT 1. SCENE 1 |
A STREET IN VERONA |
|
TWO MEMBERS OF THE FAMILY OF CAPULET ENTER. THEY CARRY SWORDS. |
|
|
SAMPSON: |
I will not fight. But nobody should insult me. If we meet any Montagues, they should be quiet. |
|
GREGORY: |
Or what will you do? |
|
SAMPSON: |
I’ll kill them. |
|
GREGORY: |
All of them? |
|
SAMPSON: |
Yes. If they are Montagues, everyone of them. |
|
GREGORY: |
Will you kill their women too? |
|
SAMPSON: |
I’ll kill their men with swords and their women with smiles. (WE HEAR APPROACHING FOOTSTEPS ON COBBLES) |
|
GREGORY: |
Here come two of the house of Montague. Draw your sword. (SAMPSON UNSHEATHES HIS SWORD) |
|
SAMPSON: |
My naked weapon is out. Quarrel, and I will back you. |
|
(ABRAHAM AND BALTHASAR, MEMBERS OF THE FAMILY OF MONTAGUE ENTER) |
|
|
GREGORY: |
Let us keep the law on our side. Let them begin. |
|
SAMPSON: |
I will bite my thumb at them. They will take that as an insult. |
|
(NOTE: IN SHAKESPEARE’S DAY TO BITE YOUR THUMB AT SOMEONE WAS TO IMPLY THAT THEY WERE GAY) |
|
|
ABRAHAM: |
Do you bite your thumb at us, sir? |
|
SAMPSON: |
I do bite my thumb, sir. |
|
ABRAHAM: |
Do you bite your thumb at us, sir? |
|
SAMPSON: |
No, sir, I do not bite my thumb at you, sir, but I bite my thumb, sir. |
|
BALTHASAR: |
Just like a Capulet! |
|
SAMPSON: |
What do you mean? |
|
BALTHASAR: |
Insulting someone and then too cowardly to admit it. |
|
(GREGORY UNSHEATHES HIS SWORD) |
|
|
SAMPSON: |
Draw if you be men! |
|
(BALTHASAR AND ABRAHAM DRAW THEIR SWORDS) Gregory, remember you deadly thrust! (ALL FOUR BEGIN TO FIGHT. THEIR SWORDS CLASH.) |
|
|
(BENVOLIO ENTERS, RUNNING TOWARDS THEM) |
|
|
BENVOLIO: |
Part fools! Put down your swords! |
|
(HE ARRIVES AND WITH HIS SWORD BEATS DOWN THEIR SWORDS WHICH FALL ONTO THE GROUND) You know not what you do! (TYBALT ENTERS) |
|
|
TYBALT: |
(RUNNING FORWARD, OUT OF BREATH) So Benvolio, you have drawn your sword against my friends! |
|
BENVOLIO: |
I am trying to keep the peace. |
|
TYBALT: |
You talk of peace with your sword drawn?! Turn and meet your death! |
|
BENVOLIO: |
Help me to part these men. |
|
TYBALT: |
(LUNGING FORWARD) Have at you coward!! (CLASH OF SWORDS. SHOUTING CROWDS ARRIVE) |
|
CROWD 1: |
(SHOUTING) Strike him! |
|
CROWD 2: |
Kill him! |
|
CROWD 3: |
Beat them down! |
|
CROWD 4: |
Down with the Capulets! |
|
CROWD 5: |
Down with the Montagues! |
|
(OLD CAPULET AND LADY CAPULET ENTER) |
|
|
CAPULET: |
What noise is this? Give me my long sword! |
|
LADY CAPULET: |
Sword? You need a crutch, not a sword. |
|
OLD MONTAGUE AND LADY MONTAGUE ENTER |
|
|
MONTAGUE: |
(APPROACHING) You villain, Capulet. Let me at him. |
|
LADY MONTAGUE: |
|
|
(PRINCE ESCALUS ENTERS WITH HIS SOLDIERS ) |
|
|
PRINCE ESCALUS: |
(APPROACHING) Rebellious subjects, enemies to peace, throw your weapons to the ground. |
|
(TYBALT AND BENVOLIO DROP THEIR SWORDS TO THE GROUND) |
|
|
BENVOLIO AND TYBALT: |
Sire. |
|
PRINCE ESCALUS |
Three times you have disturbed the peace of Verona. |
|
Old Capulet, and Montague, this is your fault. If you disturb our streets again, your lives shall pay for it. Do you understand? |
|
|
CAPULET |
Yes, Sire. |
|
MONTAGUE: |
Yes, Sire. |
|
PRINCE ESCALUS |
Return to your homes. |
|
MUSIC BRIDGE. TYBALT, SAMPSON, GREGORY, ABRAHAM AND BALTHASAR TAKE UP THEIR SWORDS AND LEAVE THE STAGE. THEY ARE FOLLOWED BY CAPULET AND LADY CAPULET AND FINALLY BY THE PRINCE AND HIS SOLDIERS. FADE MUSIC |
|
|
LADY MONTAGUE: |
I am glad my Romeo wasn’t in this fight. Benvolio, have you seen him today? |
|
BENVOLIO: |
I saw him this morning, my Lady, lying on the garden wall. He looked so sad. |
|
LADY MONTAGUE: |
Oh my poor Romeo! |
|
MONTAGUE |
Do you know why he looked so sad? |
|
BENVOLIO: |
No, my Lord. When I approached him he ran away. |
|
(ROMEO APPEARS STAGE RIGHT) See, here he comes now. Shall I speak to him? |
|
|
MONTAGUE: |
Yes, Benvolio, please do. |
|
LADY MONTAGUE: |
Thank you, Benvolio. (MONTAGUE AND LADY MONTAGUE LEAVE STAGE LEFT) |
|
BENVOLIO: |
Good morning, cousin. |
|
ROMEO: |
Is it still morning? |
|
BENVOLIO: |
It is only nine o’clock. |
|
ROMEO: |
Sad hours pass slowly. |
|
BENVOLIO: |
Are you in love? |
|
ROMEO: |
Out. |
|
BENVOLIO: |
I don’t understand. |
|
ROMEO: |
The one I love, does not love me. Therefore I am out of love. |
|
BENVOLIO: |
(LAUGHS) |
|
ROMEO: |
Don’t laugh at me. |
|
BENVOLIO: |
No, no…. It’s just that. |
|
ROMEO: |
Forgive me. I haven’t slept in a day, because I’ve been thinking so much. I didn’t even notice that you’ve been injured. |
|
BENVOLIO: |
It’s nothing. Just the usual fight with the Capulets. |
|
ROMEO: |
I should have been with you. Perhaps one of the Capulets would have stabbed me, and put me out of my misery. |
|
BENVOLIO: |
You aren’t serious! |
|
(ROMEO SIGHS) |
|
|
BENVOLIO: |
I hate to see you like this. |
|
ROMEO GRABS BENVOLIO |
|
|
ROMEO: |
(SHOUTS) Hate? Hate to see me in love? Then you hate me! |
|
Montagues love to hate, fight and kill. But whether we love to hate or love to love doesn’t matter. It’s all the same passion, and will kill us all the same. |
|
|
BENVOLIO: |
Can you tell me who it is you love? |
|
ROMEO: |
A woman. |
|
BENVOLIO: |
Yes. Who? |
|
ROMEO: |
Rosaline. |
|
BENVOLIO: |
Rosaline? Things may be alright. I know she will be at a party in the Capulet’s house tonight. |
|
ROMEO: |
In the Capulet’s house? My father’s enemy? I cannot enter there. I will surely be killed; but that will not be so bad. |
|
BENVOLIO: |
Cousin, our friend, Mercutio is invited to the party. We can go with him. |
|
We will wear masks so no one will recognize us. (PAUSE) I see you smile. Not ready to die yet, eh? I warn you: there will be many pretty girls there and you will forget about Rosaline. |
|
|
ROMEO: |
Oh, Benvolio, there is no one as beautiful as her. I would never want another. |
|
BENVOLIO: |
Believe what you want. Just get ready for the party. |
|
THEY LEAVE THE STAGE. MUSIC BRIDGE. STAGE HANDS CHANGE THE BACKDROPS FROM A STREET IN VERONA TO CAPULET’S PALACE |
|
|
ACT 1. SCENE 2 |
CAPULET’S PALACE. CAPULET AND PARIS ENTER |
|
CAPULET: |
I’m glad Montague has to obey the same rules as me. We are too old to fight. |
|
PARIS: |
It’s a pity you’ve been enemies for so long. But sir, what do you say to my request? |
|
CAPULET: |
Your request? I’d almost forgotten. |
|
PARIS: |
Are you opposed to my marrying Juliet? |
|
CAPULET: |
You are a fine young man; but she is so young. She is still a stranger in the world. She is only sixteen. |
|
PARIS: |
Many younger than her are already mothers. |
|
CAPULET: |
And spoilt by that. |
|
PARIS: |
I’m sorry. I’ve upset you. You are her father. You know best. |
|
CAPULET: |
Wait! Woo her gently, Paris. Win her heart. |
|
PARIS: |
Thank you, sir. |
|
CAPULET: |
If she agrees I will also will agree to the marriage. |
|
PARIS: |
Thank you Sir. |
|
THEY BOTH LEAVE STAGE LEFT. MUSIC BRIDGE |
|
|
ACT 1. SCENE 3 |
LADY CAPULET ENTERS STAGE RIGHT. |
|
LADY CAPULET: |
(CALLING) Nurse! |
|
(FOOTSTEPS RUNNING FROM A DISTANCE – PERHAPS ON AN ECHOING STAIRCASE. FADE MUSIC) |
|
|
(NURSE ENTERS STAGE LEFT, RUNNING. CALLING OUT OF BREATH. SHE IS VERY FAT.) |
|
|
NURSE: |
Coming Madam! |
|
LADY CAPULET: |
Where’s my daughter? Call her to me. |
|
NURSE: |
(ARRIVING. STILL OUT OF BREATH. ) (CALLING) My ladybird. Where are you? Juliet? |
|
(JULIET ENTERS STAGE LEFT) |
|
|
JULIET: |
What’s going on? What do you want ? |
|
NURSE: |
Your mother wants you. |
|
JULIET: |
What do you want, Mother? |
|
LADY CAPULET: |
Tell me Juliet, how would you like to be married? |
|
JULIET: |
I’ve always dreamed of marriage, but I’m still too young. |
|
LADY CAPULET: |
I was your mother, when I was your age. |
|
(PAUSE) I will be brief. The brave Paris wants to marry you. What do you think, Juliet? He will be at the party tonight. Take a good look at him before you answer. |
|
|
JULIET: |
I will look, Mother, |
|
THEY LEAVE THE STAGE. MUSIC BRIDGE. STAGE HANDS CHANGE THE BACKDROP BACK TO A STREET IN VERONA. |
|
|
ACT 1. SCENE 4 |
EXTERIOR. A STREET IN VERONA |
|
MERCUTIO ENTERS AND ROMEO AND BENVOLIO FOLLOW HIM. FADE MUSIC |
|
|
MERCUTIO: |
Come on. We’re going to be late. I thought a man in love could fly with Cupid’s wings. |
|
ROMEO: |
You’re wrong Mercutio. Love is burdensome. So a lover’s feet are slow. |
|
BENVOLIO: |
But gentle Romeo, we must have you dance. |
|
MERCUTIO: |
If I were in love I would dance. |
|
BENVOLIO: |
Come. Let us hurry or we shall miss supper and the dance. |
|
ROMEO: |
It will be okay to be late. I fear tonight will be a disaster. |
|
THEY LEAVE THE STAGE AND AS THE STAGE HANDS RESTORE CAPULET’S PALACE BRING UP DANCE MUSIC |
|
|
ACT 1. SCENE 5 |
MANY DANCERS IN MASKS DANCE ONTO THE STAGE. |
|
CAPULET ENTERS; WITH COUSIN CAPULET. HE SIGNALS TO STOP THE MUSIC AND DANCING. THE DANCERS STOP TO LISTEN. |
|
|
CAPULET: |
Welcome, gentlemen! ladies! Come more light. light the torches |
|
SERVANTS BRING ON TORCHES AND THE STAGE IS LIGHTER. THE MUSIC STARTS UP AGAIN BUT MORE QUIETLY THAN BEFORE SO THAT WE CAN HEAR THE SPEECHES.. THE DANCERS DANCE IN THE BACKGROUND. |
|
|
CAPULET: |
Come ladies, let us see you dance! Good Cousin Capulet, you and I are past our dancing days: How long is it now since last you and I wore masks? |
|
COUSIN CAPULET: |
By Our Lady, thirty years. |
|
CAPULET: |
It cannot be so long. |
|
COUSIN CAPULET: |
It is indeed. |
|
THEY GO TO THE SIDE OF THE STAGE. |
|
|
SWELL MUSIC AND TAKE DOWN, AS THE DANCERS DANCE FORWARD AND BACK AGAIN. JULIET IS DANCING WITH PARIS |
|
|
ROMEO, MASKED, ENTERS. HE LOOKS IN WONDER AT JULIET. THEN HE APPPROACHES A SERVANT |
|
|
ROMEO: |
My man, what lady is that, who dances with Count Paris? |
|
SERVANT: |
I know not, sir. |
|
ROMEO: |
O, she teaches the torches to burn bright! Her beauty is too good for this world. She outshines the other women As a white dove in a flock of crows. When this dance is over, I’ll see where she stands. Then I’ll touch her hand with my rough and ugly one. Did my heart ever love before this moment? Then my eyes were liars, Because I never saw true beauty until tonight. |
|
SWELL MUSIC AGAIN. JULIET HAS SEEN ROMEO AND CANNOT STOP LOOKING AT HIM. TAKE THE MUSIC DOWN AGAIN |
|
|
JULIET: |
Ooh |
|
PARIS: |
What is the matter? What are you staring at? |
|
JULIET: |
Nothing. There’s something is in my eye. |
|
PARIS: |
Can I take it out |
|
JULIET: |
No, no. Don’t bother. |
|
TAKE THE MUSIC UP AGAIN AS TYBALT ENTERS WITH SERVANT 2 AND SEES ROMEO. TAKE THE MUSIC DOWN AGAIN |
|
|
TYBALT: |
I recognize this man. He must be a Montague. My man. |
|
SERVANT 2: |
Yes Sir |
|
TYBALT: |
Fetch me my sword. How dare he come here . For the honour of our family, it will not be a crime to kill him. |
|
(CAPULET APPROACHES) |
|
|
CAPULET: |
What’s the matter nephew? Why are you so angry? |
|
TYBALT: |
(POINTING) Uncle, that man is a Montague—our enemy. |
|
CAPULET: |
He’s young Romeo |
|
TYBALT: |
Yes, that villain Romeo. He’s come here to mock us. (SHOUTS) Romeo! |
|
CAPULET: |
Calm down, Tybalt. Leave him alone. He appears to be a gentleman. I have heard good things of him |
|
TYBALT: |
I cannot tolerate him. |
|
CAPULET: |
You will tolerate him at my party. |
|
CAPULET LEADS TYBALT OFF STAGE. THE DANCE COMES TO AN END AND JULIET LEAVES PARIS WHO ALSO LEAVES THE STAGE. ROMEO APPROACHES JULIET |
|
|
ROMEO: |
(WHISPERING) Please follow me. |
|
JULIET: |
Where to? |
|
ROMEO: |
Into the garden. |
|
JULIET: |
All right. |
|
SERVANTS BRING ON SOME POTTED PLANTS OR SMALL TREES AND THEN LEAVE WITH EVERYBODY EXCEPT ROMEO AND JULIET. THE DANCE MUSIC STARTS UP AGAIN IN THE DISTANCE. ROMEO TAKES JULIET’S HANDS |
|
|
ROMEO: |
Your hands are gentle. You are like an angel. I would like to give you a tender kiss. |
|
JULIET: |
Angels have wings and often fly away. |
|
ROMEO: |
Don’t angels have lips? |
|
JULIET: |
Yes lips they must use in prayer |
|
(HE MOVES TOWARDS HER) |
|
|
ROMEO: |
Then move not that I may taste your prayer. |
|
(THEY KISS.) |
|
|
JULIET: |
(GENTLY) Ooh, you kiss beautifully. |
|
NURSE: |
(CALLING FROM A DISTANCE) Juliet! |
|
(SHE COMES INTO THE GARDEN) |
|
|
NURSE: |
Madam, your father and Paris are looking for you. |
|
ROMEO: |
Who is her father? |
|
NURSE: |
This is Juliet and her father is the owner of the house. |
|
ROMEO: |
Is she a Capulet? |
|
BENVOLIO: |
(ENTERS THE STAGE) Come. We’ve been discovered. We have to leave before there’s trouble |
|
ROMEO: |
(LEAVING WITH HIM) There’s trouble already. |
|
JULIET: |
Nurse, who was that gentleman? Is he married? |
|
NURSE: |
No, but he might as well be |
|
JULIET: |
What do you mean? |
|
NURSE: |
His name is Romeo Montague, the only son of your great enemy. |
|
JULIET: |
So my only love has come from my only hate. |
|
NURSE: |
What’s this? My baby girl is in love? |
|
PARIS: |
(CALLING FROM A DISTANCE) Juliet! |
|
LADY CAPULET: |
(CALLING FROM A DISTANCE) Juliet! |
|
CAPULET: |
(CALLING FROM A DISTANCE) Juliet! |
|
JULIET: |
Tell them I’ve gone to bed. |
|
SHE AND THE NURSE LEAVE. MUSIC BRIDGE. STAGE HANDS LEAVE THE BACKDROP OF CAPULET’S PALACE AND JUST LEAVE THE POTTED PLANTS. THEY BRING ON A WALL NEAR STAGE LEFT AND A BALCONY STAGE RIGHT |
|
|
ACT II. SCENE 1. |
FADE MUSIC AS BENVOLIO AND MERCUTIO ENTER ON THE EXTREME LEFT OF THE STAGE, LEFT OF THE WALL.. |
|
BENVOLIO: |
(CALLING) Romeo! my cousin Romeo! |
|
MERCUTIO: |
He is wise; He has gone home to bed. |
|
BENVOLIO: |
No. I saw him run this way. He jumped over this garden wall. |
|
MERCUTIO: |
It is the Capulet’s orchard. |
|
BENVOLIO: |
He must have hidden in the trees. |
|
MERCUTIO: |
His love is blind. It suits the dark night. |
|
BENVOLIO: |
You’re right. First he loves Rosaline, now Juliet |
|
MERCUTIO: |
There’ s no point looking for somebody who doesn’t want to be found. Let’s go home to bed. |
|
THEY LEAVE THE STAGE. BRING UP THE HOOTING OF AN OWL |
|
|
ACT II SCENE 2 |
ROMEO ENTERS JUST TO THE RIGHT OF THE WALL. HE WAITS THEN JULIET ENTERS ON THE BALCONY |
|
ROMEO: |
Oh! It is my angel. Oh, it is my love. |
|
JULIET: |
(NOT SEEING ROMEO YET) Ah, me! |
|
ROMEO: |
(SOFTLY) Oh, speak again, my angel. |
|
JULIET: |
(STILL NOT SEEING HIM) Oh Romeo, Romeo! Where are you my sweet Romeo? |
|
ROMEO: |
(SPEAKING LOUDER AND COMING NEARER) Juliet, my love. I will be yours. |
|
JULIET: |
Romeo, it’s dangerous for you here. Tybalt, my cousin, may kill you! |
|
ROMEO: |
I prefer to die here, than to be without you. |
|
JULIET: |
Do you love me? |
|
ROMEO: |
I love you more than words can say. |
|
NURSE: |
(SHOUTS FROM A DISTANCE) Juliet! Juliet! |
|
JULIET: |
A noise. Go, dear love. (HE BEGINS TO MOVE AWAY) No, stay! |
|
(HE COMES BACK AND STARTS TO CLIMB THE BALCONY) |
|
|
JULIET: |
What can I do to make you happy? |
|
ROMEO: |
Give me your heart. And I will give you mine. |
|
JULIET: |
I gave it before you asked. My love is as deep as the sea. |
|
NURSE: |
(SHOUTS FROM A DISTANCE) My lady! |
|
JULIET: |
If your love is real, do you want to marry me? |
|
ROMEO: |
I do want to marry you. |
|
JULIET: |
When? |
|
ROMEO: |
Tomorrow. |
|
JULIET: |
It will seem like twenty years. Go now. |
|
(SHE BLOWS HIM A KISS. HE TOUCHES IT TO HIS HEART) |
|
|
JULIET: |
Good night. Parting is such sweet sorrow. I will see you tomorrow. |
|
ROMEO: |
I will not sleep till then. |
|
JULIET LEAVES AND ROMEO CLIMBS OVER THE WALL. MUSIC BRIDGE. CHURCH MUSIC. THE STAGE HANDS BRING ON A BACKDROP OF A CHURCH. OR THE BALCONY COULD BE TURNED ROUND TO REVEAL PART OF A CHURCH |
|
|
ACT II SCENE 3 |
FRIAR LAWRENCE ENTERS AND KNEELS DOWN TO PRAY. LISTEN TO THE MUSIC. THEN ROMEO ENTERS |
|
ROMEO: |
Good Morning, Father. |
|
FRIAR LAWRENCE GETS UP |
|
|
FRIAR LAWRENCE: |
Good Morning. Why are you up so early? |
|
ROMEO: |
I did not go to bed. |
|
FRIAR LAWRENCE: |
What do you want my son? |
|
ROMEO: |
(HE KNEELS BEFORE THE FRIAR) I want you to marry me to Juliet. |
|
FRIAR LAWRENCE: |
Are you crazy? |
|
ROMEO: |
I want to marry her today. |
|
(FRIAR LAWRENCE PACES UP AND DOWN, THINKING) |
|
|
ROMEO: |
Father? |
|
FRIAR LAWRENCE: |
All right. I will marry you both. I hope this marriage brings love to your families, instead of hate. |
|
THEY LEAVE MUSIC BRIDGE. STAGE HANDS BRING ON THE BACKDROP OF A STREET IN VERONA FROM ACT I SCENE 1 AND REMOVE THE CHURCH BACKDROP, ETC. LOSE MUSIC |
|
|
ACT II SCENE 4 |
A STREET IN VERONA |
|
ON ONE SIDE OF THE STAGE MERCUTIO ENTERS HUMMING A TUNE. ROMEO FOLLOWS HIM. THEN THE NURSE ENTERS FROM THE OTHER SIDE OF THE STAGE WALKING THE WAY VERY FAT PEOPLE WALK. |
|
|
MERCUTIO: |
Is that an elephant coming towards us? |
|
(THE NURSE GETS CLOSER) Oh. It’s just a fat lady. |
|
|
NURSE: |
Fat lady! How rude! I was looking for Romeo. I’m sad to see him with such a rude man. |
|
ROMEO: |
What can I do for you, Madam? |
|
NURSE: |
Can I talk to you in private, Sir? |
|
(MERCUTIO SHRUGS HIS SHOULDERS AND WALKS AWAY) |
|
|
NURSE: |
My young lady has told me everything. I have a message from her. |
|
ROMEO: |
Ah?!? |
|
NURSE: |
But first, she is so young. Do you only pretend to love her? |
|
ROMEO: |
Pretend !!?? My heart and soul belong to her. |
|
(THE NURSE LOOKS INTO HIS EYES) |
|
|
My lady loves you. |
|
|
NURSE: |
And she is very precious to me. (PAUSE) Oh, dear Romeo, you are going to make her very happy. |
|
ROMEO: |
I plan to. Friar Lawrence has agreed to marry us. |
|
NURSE: |
Marry you? How beautiful! |
|
ROMEO: |
Bring her to the church, as soon as you can. |
|
(THE NURSE HURRIES OFF. ROMEO LEAVES.) MUSIC BRIDGE. THE STAGE HANDS REMOVE THE BACKDROP OF THE VERONA STREET AND BRING ON A BACKDROP OF AN ORCHARD AT NIGHT AND A SILVER CRESCENT MOON |
|
|
ACT II SCENE 5 |
ORCHARD AT NIGHT. THE MUSIC MIXES INTO THE HOOTING OF AN OWL. JULIET ENTERS |
|
JULIET: |
(SIGHING TO HERSELF) I sent her so long ago. Why is she so slow? |
|
THEN THE NURSES ENTERS SHE STUMBLES AND TRIES TO FEEL HER WAY IN THE DARK. |
|
|
JULIET: |
Oh here she comes! |
|
SHE COMES UP TO JULIET AND FEELS HER |
|
|
NURSE: |
Oh, there you are. |
|
JULIET: |
Oh, what happened? Did you meet him? Why do you look so sad? |
|
NURSE: |
(PUFFING) Just a moment. I’m out of breath. |
|
JULIET: |
(SHAKING THE NURSE) Tell me! Is it good news or bad news? |
|
NURSE: |
You told me his face was more handsome than anyone’s, but his hands, his feet, and his whole body are better too. |
|
JULIET: |
I know. I know! But what did he say about our marriage? |
|
NURSE: |
He said something about it. |
|
JULIET: |
You tease me! Am I going to be married today or not? |
|
NURSE: |
You didn’t want to get married to Paris so quickly. Why are you so eager to marry Romeo? |
|
JULIET: |
What did Romeo say? |
|
NURSE: |
Do you have to go to confession today? |
|
JULIET: |
Stop teasing me! Tell me what Romeo said. |
|
NURSE: |
Okay, okay, I was only teasing you. A young woman that is going to get married can forgive me. |
|
JULIET: |
Married! |
|
NURSE: |
Now if you want to make confession, you have to go to church. |
|
JULIET: |
Thank you! Thank you! Let’s go right now! |
|
JULIET RUNS OFF AND THE NURSE STUMBLES SLOWLY AFTER HER. BRING UP CHURCH MUSIC AGAIN. STAGE HAND REMOVE ORCHARD AND MOON ANDBRING ON CHURCH BACKGROUND AGAIN |
|
|
ACT II SCENE 6 |
INTERIOR. THE CHURCH. THE ACOUSTIC IS ECHOEY |
|
FRIAR LAWRENCE ENTERS FROM ONE SIDE AND ROMEO FROM THE OTHER |
|
|
FRIAR LAWRENCE: |
May God bless this Holy marriage. Please God let nothing go wrong. |
|
ROMEO: |
(EXCITED) Amen. So be it. |
|
FRIAR LAWRENCE: |
Calm yourself. |
|
JULIET ENTERS |
|
|
JULIET: |
(APPROACHING) Good evening, Father. Romeo my love. |
|
(SHE FLIES INTO HIS ARMS. THEY KISS) |
|
|
ROMEO: |
My love, you are better with words than I. Tell me how happy we shall be when we are married. |
|
JULIET: |
I love you more than words can say. My love is worth more than all the riches in the world. |
|
FRIAR LAWRENCE COMES BETWEEN THEM. |
|
|
FRIAR LAWRENCE: |
That’s enough! Let’s hurry up with the wedding. |
|
BRING UP THE CHURCH MUSIC. THEN THEY KNEEL DOWN AND HE MAKES THE SIGN OF THE CROSS OVER THEM. THEN THEY GET UP AND LEAVE THE STAGE HAND IN HAND STAGE HANDS REMOVE THE CHURCH BACKGROUND AND RESTORE THE VERONA STREET |
|
|
ACT III SCENE 1 |
VERONA STREET SCENE TYBALT AND MERCUTIO ENTER |
|
TYBALT: |
Mercutio, where is Romeo? |
|
MERCUTIO: |
Tybalt, even if I knew, I wouldn’t tell you. |
|
(TYBALT DRAWS HIS SWORD. THEN HE SEES ROMEO COMING) |
|
|
TYBALT: |
Ah. Here comes my man. |
|
MERCUTIO: |
Your man? Is he one of your servants? |
|
TYBALT: |
A mistake. I should have called him a villain. |
|
ROMEO: |
Tybalt, I will forgive your anger. I love you like a brother, more than you can know. |
|
MERCUTIO: |
What !!?? Are you a coward, Romeo? I’ll be happy when Tybalt is dead! |
|
TYBALT: |
I’m ready for you! |
|
ROMEO: |
Tybalt! Mercutio!! Put your swords away! |
|
(HE TRIES TO PART THEM, BUT TYBALT STABS MERCUTIO IN THE CHEST) |
|
|
MERCUTIO: |
Aah … (HE FALLS TO THE GROUND) |
|
(ROMEO KNEELS BESIDE HIM) |
|
|
ROMEO: |
He’s dead. (TO TYBALT. ANGRY NOW) So you want to stare at his dead body now! |
|
TYBALT: |
You poor little boy. Do you want to die like Mercutio? |
|
(ROMEO LEAPS TO HIS FEET) |
|
|
ROMEO: |
My sword is strong. |
|
(THEY HAVE A FIERCE SWORD FIGHT. ROMEO KILLS TYBALT, WHO FALLS TO THE GROUND) |
|
|
TYBALT: |
(GROANING) I die. You have slain your enemy. |
|
ROMEO: |
Oh, I am a fool. I have killed my beloved’s cousin. |
|
(HE DROPS HIS SWORD |
|
|
ROMEO: |
I must flee. (HE RUNS AWAY) |
Set up microphone on stand, attach to recording equipment, set up audio editing software on computer.
Romeo and Juliet
Abridged and Adapted for AUDIO by Shaun Macloughlin.
| CAST | CAST | SPOT EFFECTS |
RECORDED EFFECTS |
MUSIC |
| Romeo | Juliet | Sword being unsheathed | Footsteps on cobbles |
Romeo and Juliet Overture by Tchaikovsky |
| Gregory | Nurse | Clashing of swords |
Nurses |
Medieval Music – Three Basse Dance |
| Sampson | Lady Capulet |
swords falling onto ground |
Hooting |
Church music. |
| Abraham | Lady Montague |
MORE CAST | MORE CAST | MORE CAST |
| Balthasar | Paris | Crowd 1 | Crowd 2 | Crowd 3 |
| Benvolio | Cousin Capulet |
Crowd 4 | Montague | Mercutio |
| Tybalt | Servant at Ball | Capulet | Friar Lawrence |
|
The Shorter Version of the Audio Script
| SCENE 1 |
EXTERIOR. FOOTSTEPS ON COBBLESTONES |
| SAMPSON: |
I will not fight. But nobody should insult me. If we meet any Montagues, they should be quietT |
| GREGORY: |
.Or what will you do? |
| SAMPSON: | I’ll kill them. |
| GREGORY: | (HE STOPS WALKING) All of them? |
| SAMPSON: |
(HE ALSO STOPS WALKING) Yes. If they are Montagues, everyone of them. |
|
GREGORY: |
Will you kill their women too? |
|
SAMPSON: |
I’ll kill their men with swords and their women with smiles. (WE HEAR APPROACHING FOOTSTEPS ON COBBLES) |
|
GREGORY: |
Here come two of the house of Montague. Draw your sword. (SOUND EFFECT OF SWORD BEING UNSHEATHED ) |
|
SAMPSON: |
My naked weapon is out. Quarrel, and I will back you. |
|
GREGORY: |
Let us keep the law on our side. Let them begin. |
|
SAMPSON: |
I will bite my thumb at them. They will take that as an insult. |
|
(NOTE: IN SHAKESPEARE’S DAY TO BITE YOUR THUMB AT SOMEONE WAS TO IMPLY THAT THEY WERE GAY) |
|
|
ABRAHAM: |
Do you bite your thumb at us, sir? |
|
SAMPSON: |
I do bite my thumb, sir. |
|
ABRAHAM: |
Do you bite your thumb at us, sir? |
|
SAMPSON: |
No, sir, I do not bite my thumb at you, sir, but I bite my thumb, sir. |
|
BALTHASAR: |
Just like a Capulet! |
|
SAMPSON: |
What do you mean? |
|
BALTHASAR: |
Insulting someone and then too cowardly to admit it. |
|
SAMPSON: |
Draw if you be men! |
|
(SOUND EFFECTS OF SWORDS BEING DRAWN) Gregory, remember your deadly thrust! (WE HEAR SCUFFLING, THE CLASH OF SWORDS AND HEAVY BREATHING.) |
|
|
BENVOLIO: |
(RUNNING TOWARDS THEM) Part fools! Put down your swords! |
|
(HE ARRIVES AND BEATS DOWN THEIR SWORDS WHICH WE HEAR FALLING ONTO THE GROUND) You know not what you do! (WE HEAR MORE FOOTSTEPS RUNNING TOWARDS US)
|
|
|
TYBALT: |
(RUNNING FORWARD, OUT OF BREATH) So Benvolio, you have drawn your sword against my friends! |
|
BENVOLIO: |
I am trying to keep the peace. |
|
TYBALT: |
You talk of peace with your sword drawn?! Turn and meet your death! |
|
BENVOLIO: |
Help me to part these men. |
|
TYBALT: |
(LUNGING FORWARD) Have at you coward!! (CLASH OF SWORDS. SHOUTING CROWDS ARRIVE) |
|
CROWD 1: |
(SHOUTING) Strike him! |
|
CROWD 2: |
Kill him! |
|
CROWD 3: |
Beat them down! |
|
CROWD 4: |
Down with the Capulets! |
|
CROWD 5: |
Down with the Montagues! |
|
CAPULET: |
(APPROACHING MICROPHONE) What noise is this? Give me my long sword! |
|
LADY CAPULET: |
Sword? You need a crutch, not a sword. |
|
MONTAGUE: |
(APPROACHING) You villain, Capulet. Let me at him. |
|
LADY MONTAGUE: |
How can you fight? You can barely walk. |
|
(HORSE HOOVES APPROACH ON COBBLES ) |
|
|
PRINCE ESCALUS: |
(APPROACHING) Rebellious subjects, enemies to peace, throw your weapons to the ground. |
|
(SWORDS ARE DROPPED TO THE GROUND) |
|
|
BENVOLIO AND TYBALT: |
Sire. |
|
PRINCE ESCALUS |
Three times you have disturbed the peace of Verona. |
|
Old Capulet, and Montague, this is your fault. If you disturb our streets again, your lives shall pay for it. Do you understand? |
|
|
CAPULET |
Yes, Sire. |
|
MONTAGUE: |
Yes, Sire. |
|
PRINCE ESCALUS |
Return to your homes. |
|
FADE. BRIDGING MUSIC. |
|
|
SCENE 2 |
INTERIOR. MONTAGUE’S PALACE. A DOOR CLOSES. FOOTSTEPS APPROACH. |
|
LADY MONTAGUE: |
I am glad my Romeo wasn’t in this fight. Benvolio, have you seen him today? |
|
BENVOLIO: |
I saw him this morning, my Lady, lying on the garden wall. He looked so sad. |
|
LADY MONTAGUE: |
Oh my poor Romeo! |
|
MONTAGUE |
Do you know why he looked so sad? |
|
BENVOLIO: |
No, my Lord. When I approached him he ran away. I see him outside now Shall I speak to him? |
|
MONTAGUE: |
Yes, Benvolio, please do. |
|
LADY MONTAGUE: |
Thank you, Benvolio. (DOOR CLOSES CLO) |
|
SCENE 3 |
EXTERIOR. BIRDSONG. FEET ON COBBLES |
|
BENVOLIO: |
Good morning, cousin. |
|
ROMEO: |
Is it still morning? |
|
BENVOLIO: |
It is only nine o’clock. |
|
ROMEO: |
Sad hours pass slowly. |
|
BENVOLIO: |
Are you in love? |
|
ROMEO: |
Out. |
|
BENVOLIO: |
I don’t understand. |
|
ROMEO: |
The one I love, does not love me. Therefore I am out of love. |
|
BENVOLIO: |
(LAUGHS) |
|
ROMEO: |
Don’t laugh at me. |
|
BENVOLIO: |
No, no…. It’s just that. |
|
ROMEO: |
Forgive me. I haven’t slept in a day, because I’ve been thinking so much. I didn’t even notice that you’ve been injured. |
|
BENVOLIO: |
It’s nothing. Just the usual fight with the Capulets. |
|
ROMEO: |
I should have been with you. Perhaps one of the Capulets would have stabbed me, and put me out of my misery. |
|
BENVOLIO: |
You aren’t serious! |
|
(ROMEO SIGHS) |
|
|
BENVOLIO: |
I hate to see you like this. |
|
ROMEO GRABS BENVOLIO |
|
|
ROMEO: |
(SHOUTS) Hate? Hate to see me in love? Then you hate me! |
|
Montagues love to hate, fight and kill. But whether we love to hate or love to love doesn’t matter. It’s all the same passion, and will kill us all the same. |
|
|
BENVOLIO: |
Can you tell me who it is you love? |
|
ROMEO: |
A woman. |
|
BENVOLIO: |
Yes. Who? |
|
ROMEO: |
Rosaline. |
|
BENVOLIO: |
Rosaline? Things may be alright. I know she will be at a party in the Capulet’s house tonight. |
|
ROMEO: |
In the Capulet’s house? My father’s enemy? I cannot enter there. I will surely be killed; but that will not be so bad. |
|
BENVOLIO: |
Cousin, our friend, Mercutio is invited to the party. We can go with him. |
|
We will wear masks so no one will recognize us. (PAUSE) I see you smile. Not ready to die yet, eh? I warn you: there will be many pretty girls there and you will forget about Rosaline. |
|
|
ROMEO: |
Oh, Benvolio, there is no one as beautiful as her. I would never want another. |
|
BENVOLIO: |
Believe what you want. Just get ready for the party. |
|
MUSIC BRIDGE. PALACE |
|
|
SCENE 4 |
INTERIOR. CAPULET’S PALACE.
|
|
CAPULET: |
I’m glad Montague has to obey the same rules as me. We are too old to fight. |
|
PARIS: |
It’s a pity you’ve been enemies for so long. But sir, what do you say to my request? |
|
CAPULET: |
Your request? I’d almost forgotten. |
|
PARIS: |
Are you opposed to my marrying Juliet? |
|
CAPULET: |
You are a fine young man; but she is so young. She is still a stranger in the world. She is only sixteen. |
|
PARIS: |
Many younger than her are already mothers. |
|
CAPULET: |
And spoilt by that. |
|
PARIS: |
I’m sorry. I’ve upset you. You are her father. You know best. |
|
CAPULET: |
Wait! Woo her gently, Paris. Win her heart. |
|
PARIS: |
Thank you, sir. |
|
CAPULET: |
If she agrees I will also will agree to the marriage. |
|
PARIS: |
Thank you Sir. |
|
FADE. MUSIC BRIDGE |
|
|
SCENE 5 |
INTERIOR. ANOTHER ROOM IN CAPULET’S PALACE.. |
|
LADY CAPULET: |
(CALLING) Nurse! |
|
(FOOTSTEPS RUNNING FROM A DISTANCE – PERHAPS ON AN ECHOING STAIRCASE. FADE MUSIC) |
|
|
NURSE: |
(CALLING OUT OF BREATH) Coming Madam! |
|
LADY CAPULET: |
Where’s my daughter? Call her to me. |
|
NURSE: |
(ARRIVING. STILL OUT OF BREATH. ) (CALLING) My ladybird. Where are you? Juliet? |
|
JULIET: |
(ENTERING) What’s going on? What do you want ? |
|
NURSE: |
Your mother wants you. |
|
JULIET: |
What do you want, Mother? |
|
LADY CAPULET: |
Tell me Juliet, how would you like to be married? |
|
JULIET: |
I’ve always dreamed of marriage, but I’m still too young. |
|
LADY CAPULET: |
I was your mother, when I was your age. |
|
(PAUSE) I will be brief. The brave Paris wants to marry you. What do you think, Juliet? He will be at the party tonight. Take a good look at him before you answer. |
|
|
JULIET: |
I will look, Mother, |
|
FADE |
|
|
SCENE 6 |
EXTERIOR. A STREET IN VERONA |
|
MERCUTIO: |
Come on. We’re going to be late. I thought a man in love could fly with Cupid’s wings. |
|
ROMEO: |
You’re wrong Mercutio. Love is burdensome. So a lover’s feet are slow. |
|
BENVOLIO: |
But gentle Romeo, we must have you dance. |
|
MERCUTIO: |
If I were in love I would dance. |
|
BENVOLIO: |
Come. Let us hurry or we shall miss supper and the dance. |
|
ROMEO: |
It will be okay to be late. I fear tonight will be a disaster. |
|
FADE |
|
|
SCENE 7 |
INTERIOR. LARGE HALL AT CAPULET’S PALACE |
|
ESTABLISH MEDIAEVAL DANCE MUSIC AND LAUGHTER AND VOICES. THEN TAKE DOWN BEHIND THE SPEECHES
|
|
|
CAPULET: |
Welcome, gentlemen! ladies! Come more light. light the torches |
|
Come more light. light the torches Come ladies, let us see you dance! (CLOSER TO MICROPHONE. MORE QUIETLY ) Good Cousin Capulet, you and I are past our dancing days: How long is it now since last you and I wore masks?
|
|
|
COUSIN CAPULET: |
By Our Lady, thirty years. |
|
CAPULET: |
It cannot be so long. |
|
COUSIN CAPULET: |
It is indeed. |
|
SWELL MUSIC AND TAKE DOWN AGAIN.
|
|
|
ROMEO: |
My man, what lady is that, who dances with Count Paris? |
|
SERVANT: |
I know not, sir. |
|
ROMEO: |
O, she teaches the torches to burn bright! Her beauty is too good for this world. She outshines the other women As a white dove in a flock of crows. When this dance is over, I’ll see where she stands. Then I’ll touch her hand with my rough and ugly one. Did my heart ever love before this moment? Then my eyes were liars, Because I never saw true beauty until tonight. |
|
SWELL MUSIC AND THEN TAKE DOWN AGAIN |
|
|
JULIET: |
Ooh |
|
PARIS: |
What is the matter? What are you staring at? |
|
JULIET: |
Nothing. There’s something is in my eye. |
|
PARIS: |
Can I take it out |
|
JULIET: |
No, no. Don’t bother. |
|
SWELL THE MUSIC AND THEN TAKE DOWN AGAIN |
|
|
TYBALT: |
I recognize this man. He must be a Montague. My man. |
|
SERVANT 2: |
Yes Sir |
|
TYBALT: |
Fetch me my sword. How dare he come here . For the honour of our family, it will not be a crime to kill him. |
|
(CAPULET APPROACHES) |
|
|
CAPULET: |
What’s the matter nephew? Why are you so angry? |
|
TYBALT: |
(POINTING) Uncle, that man is a Montague—our enemy. |
|
CAPULET: |
He’s young Romeo |
|
TYBALT: |
Yes, that villain Romeo. He’s come here to mock us. (SHOUTS) Romeo! |
|
CAPULET: |
Calm down, Tybalt. Leave him alone. He appears to be a gentleman. I have heard good things of him |
|
TYBALT: |
I cannot tolerate him. |
|
CAPULET: |
You will tolerate him at my party. |
|
(SWELL MUSIC AGAIN AND TAKE DOWN A LITTLE )
|
|
|
ROMEO: |
(WHISPERING) Please follow me. |
|
JULIET: |
Where to? |
|
ROMEO: |
Into the garden. |
|
JULIET: |
All right. |
|
(TAKE DOWN THE MUSIC MORE AS WE GO INTO THE GARDEN. PERHAPS WE HEAR A NIGHTINGALE) |
|
|
ROMEO: |
Your hands are gentle. You are like an angel. I would like to give you a tender kiss. |
|
JULIET: |
Angels have wings and often fly away. |
|
ROMEO: |
Don’t angels have lips? |
|
JULIET: |
Yes lips they must use in prayer |
|
(HE MOVES TOWARDS HER) |
|
|
ROMEO: |
Then move not that I may taste your prayer. |
|
(THEY KISS.) |
|
|
JULIET: |
(GENTLY) Ooh, you kiss beautifully. |
|
NURSE: |
(CALLING FROM A DISTANCE) Juliet! |
|
NURSE: |
(APPROACHING) Madam, your father and Paris are looking for you. |
|
ROMEO: |
Who is her father? |
|
NURSE: |
This is Juliet and her father is the owner of the house. |
|
ROMEO: |
Is she a Capulet? |
|
BENVOLIO: |
Come. |
|
ROMEO: |
Benvolio?. We have to leave before there’s trouble |
|
BENVOLIO: |
We’ve been discovered. We have to leave before there’s trouble |
|
ROMEO: |
(LEAVING WITH HIM) There’s trouble already. |
|
JULIET: |
Nurse, who was that gentleman? Is he married? |
|
NURSE: |
No, but he might as well be |
|
JULIET: |
What do you mean? |
|
NURSE: |
His name is Romeo Montague, the only son of your great enemy. |
|
JULIET: |
So my only love has come from my only hate. |
|
NURSE: |
What’s this? My baby girl is in love? |
|
PARIS: |
(CALLING FROM A DISTANCE) Juliet! |
|
LADY CAPULET: |
(CALLING FROM A DISTANCE) Juliet! |
|
CAPULET: |
(CALLING FROM A DISTANCE) Juliet! |
|
JULIET: |
Tell them I’ve gone to bed. |
|
FADE. MUSIC BRIDGE |
|
|
SCENE 8. |
EXTERIOR. NIGHT. WE HEAR AN OWL. |
|
BENVOLIO: |
(CALLING) Romeo! my cousin Romeo! |
|
MERCUTIO: |
He is wise; He has gone home to bed. |
|
BENVOLIO: |
No. I saw him run this way. He jumped over this garden wall. |
|
MERCUTIO: |
It is the Capulet’s orchard. |
|
BENVOLIO: |
He must have hidden in the trees. |
|
MERCUTIO: |
His love is blind. It suits the dark night. |
|
BENVOLIO: |
You’re right. First he loves Rosaline, now Juliet |
|
MERCUTIO: |
There’ s no point looking for somebody who doesn’t want to be found. Let’s go home to bed. |
|
BRING UP THE HOOTING OF AN OWL. FADE |
|
|
SCENE 9 |
EXTERIOR. GARDEN. STILL AT NIGHT |
|
ROMEO: |
(WHISPERING TO HIMSELF) Oh! It is my angel. Oh, it is my love. |
|
JULIET: |
(NOT SEEING ROMEO YET) Ah, me! |
|
ROMEO: |
(SOFTLY) Oh, speak again, my angel. |
|
JULIET: |
(STILL NOT SEEING HIM) Oh Romeo, Romeo!
|
|
|
Where are you my sweet Romeo? Why are you called my sweet Romeo? Forget you are a Montague. If not, just say say you love me, and I’ll no longer be a Capulet. |
|
ROMEO: |
(SPEAKING LOUDER SO SHE CAN HEAR HIM) Juliet, my love. I will be yours. |
|
JULIET: |
Romeo is it really you? How did you get here. The walls are high and hard to climb. Romeo, it’s dangerous for you here. Tybalt, my cousin, may kill you! |
|
ROMEO: |
I prefer to die here, than to be without you. |
|
JULIET: |
Do you love me? |
|
ROMEO: |
I love you more than words can say. |
|
NURSE: |
(SHOUTS FROM A DISTANCE) Juliet! Juliet! |
|
JULIET: |
(CALLING) In a minute! (THEN TO ROMEO) Go, dear love
|
|
ROMEO: |
(HE BEGINS TO TIP-TOE AWAY) Farewell my love. |
|
JULIET: |
What can I do to make you happy? |
|
ROMEO: |
Give me your heart. And I will give you mine. |
|
JULIET: |
I gave it before you asked. My love is as deep as the sea. |
|
NURSE: |
(SHOUTS FROM A DISTANCE) My lady! |
|
JULIET: |
If your love is real, do you want to marry me? |
|
ROMEO: |
I do want to marry you. |
|
JULIET: |
When? |
|
ROMEO: |
Tomorrow. |
|
JULIET: |
It will seem like twenty years. Go now., Good night. Parting is such sweet sorrow. |
|
ROMEO: |
I will not sleep till then. |
|
FADE. MUSIC BRIDGE. THIS MIGHT BE GREGORIAN CHANT |
|
|
SCENE 10 |
INTERIOR. FRIAR LAWRENCE’S CELL (THE ACOUSTIC IS A SMALL ECHOEY CHAPEL)
|
|
ROMEO: |
Good Morning, Father. |
|
FRIAR LAWRENCE: |
Good Morning. Why are you up so early? |
|
ROMEO: |
I did not go to bed. |
|
FATHER LAWRENCE: |
Oh. Were you with Rosaline? |
|
ROMEO: |
Rosaline? I’ve forgotten all about her. |
|
FATHER LAWRENCE: |
That’s good. But then where you? |
|
ROMEO: |
Dancing with my enemy. That’s where I forgot about Rosaline and learned what true love is. |
|
FATHER LAWRENCE: |
You’re confusing me. |
|
ROMEO: |
I love Capulet’s daughter. And she loves me. We’ve just met, but our love is everlasting. We have sworn to marry. You must marry us to |
|
FATHER LAWRENCE: |
Marry you! You cried for Rosaline yesterday. Now you say you will marry another. |
|
ROMEO: |
Didn’t you scold me for loving Rosaline? |
|
FRIAR LAWRENCE: |
I scolded you for idolizing her.
|
|
ROMEO: |
Didn’t you tell me not to love her? |
|
FRIAR LAWRENCE: |
Yes, but not to fall in love again so quickly. You are too passionate. |
|
ROMEO: |
Don’t we all live by passion? |
|
FRIAR LAWRENCE: |
We live by reason. We die by our passions
|
|
ROMEO: |
Well then praise me for being reasonable. |
|
|
I know you were right about Rosaline. I wasn’t in love with her. But Juliet is perfect and it’s reasonable to love perfection, right? You must marry us! (PAUSE) Father?
|
|
FATHER LAWRENCE: |
You have not persuaded me Romeo. |
|
|
But all right. I will marry you both. I hope this marriage brings love to your families, instead of hate. FADE
|
|
SCENE 11 |
EXTERIOR. A STREET IN VERONA |
|
MERCUTIO: |
Where is Romeo? You said he wasn’t home when you got there? |
|
BENVOLIO: |
No, but Tybalt has sent a letter to him. |
|
MERCUTIO: |
A challenge to fight? |
|
BENVOLIO: |
I’m sure Romeo will accept the challenge. |
|
MERCUTIO: |
Then Romeo will die. Tybalt is an excellent fighter. |
|
BENVOLIO: |
I’d feel better if I knew where Romeo was. There is our poor lover now. |
|
MERCUTIO: |
(CALLING) Romeo! |
|
BENVOLIO: |
Why did you run away from us last night? |
|
ROMEO: |
(SPEAKING AS HE APPROACHES THE MICROPHONE) I’m sorry. I had something very important to do. |
|
BENVOLIO: |
Have you seen the letter? |
|
ROMEO: |
Letter? |
|
MERCUTIO: |
Yes, from the house of Capulet, your enemy. |
|
ROMEO: |
(EXCITED) From the house of Capulet? What did it say? |
|
BENVOLIO: |
Why are you so excited? |
|
ROMEO: |
Is it news? It seems like a thousand years since I heard her voice. Where is the letter? |
|
MERCUTIO: |
What do you mean “her voice’? |
|
|
He’s crazy. And I must be too. Is that an elephant coming towards us? |
|
(PAUSE) Oh, I see. It’s just a fat lady. |
|
|
NURSE: |
(APPROACHING) Fat lady! How rude! I was looking for young Romeo here I’m sad to see him with such a rude man. |
|
MERCUTIO: |
(LEAVING) We’ll leave him with you. A man in love is not good company for bad-mannered men like us.
|
|
ROMEO: |
What can I do for you, Madam? |
|
NURSE: |
Can I talk to you in private, Sir? |
|
NURSE: |
My young lady has told me everything. I have a message from her. |
|
ROMEO: |
Ah?!? |
|
NURSE: |
But first, she is so young. Do you only pretend to love her? |
|
ROMEO: |
Pretend !!?? My heart and soul belong to her. |
|
(PAUSE) Are you happy with my answer? |
|
|
NURSE: |
My lady loves you. |
|
|
And she is very precious to me. What is important to her, is important to me. (PAUSE) Oh, dear Romeo, you are going to make her very happy. |
|
ROMEO: |
I plan to. Friar Lawrence has agreed to marry us. Create a plan, and bring Juliet to the church so we can be married. |
|
NURSE: |
Marry you? How beautiful! |
|
ROMEO: |
Bring her to the church, as soon as you can. |
|
FADE. MUSIC BRIDGE. |
|
|
SCENE 12 |
INTERIOR. JULIET’S ROOM. |
|
|
WE HEAR JULIET’S FOOTSTEPS PACING UP AND DOWN – THE ACTRESS SHOULD WEAR HARD SOLED SHOES |
|
JULIET: |
(SIGHING TO HERSELF) I sent her so long ago. Why is she so slow? |
|
SHE CONTINUES SIGHING AND PACING. WE HEAR FOOTSTEPS ON STAIRS APPROACHING. |
|
|
JULIET: |
Oh here she comes! |
|
THEN THE DOOR OPENS. OPENING AN OLD FASHIONED LATCH SOUND EFFECT WILL HELP CREATE THE PICTURE IN THE LISTENER’S IMAGINATION. |
|
|
JULIET: |
Oh, what happened? Did you meet him? Why do you look so sad? |
|
NURSE: |
(PUFFING) Just a moment. I’m out of breath. |
|
JULIET: |
(SHAKING THE NURSE) Tell me! Is it good news or bad news? |
|
NURSE: |
You told me his face was more handsome than anyone’s, but his hands, his feet, and his whole body are better too. |
|
JULIET: |
I know. I know! But what did he say about our marriage? |
|
NURSE: |
He said something about it. |
|
JULIET: |
You tease me! Am I going to be married today or not? |
|
NURSE: |
You didn’t want to get married to Paris so quickly. Why are you so eager to marry Romeo? |
|
JULIET: |
What did Romeo say? |
|
NURSE: |
Do you have to go to confession today? |
|
JULIET: |
Stop teasing me! Tell me what Romeo said. |
|
NURSE: |
Okay, okay, I was only teasing you. A young woman that is going to get married can forgive me. |
|
JULIET: |
Married! |
|
NURSE: |
Now if you want to make confession, you have to go to church. |
|
JULIET: |
Thank you! Thank you! Let’s go right now! |
|
FADE.
|
|
|
SCENE 13 |
INTERIOR. THE CHURCH. THE ACOUSTIC IS ECHOEY |
|
FRIAR LAWRENCE: |
May God bless this Holy marriage. Please God let nothing go wrong. |
|
ROMEO: |
(EXCITED) Amen. So be it. |
|
FRIAR LAWRENCE: |
Calm yourself. |
|
JULIET: |
(APPROACHING) Good evening, Father. Romeo my love. |
|
(WE HEAR SOUND EFFECT OF HUGGING KISSING) |
|
|
ROMEO: |
My love, you are better with words than I. Tell me how happy we shall be when we are married. |
|
JULIET: |
I love you more than words can say. My love is worth more than all the riches in the world. |
|
FRIAR LAWRENCE COMES BETWEEN THEM. |
|
|
FRIAR LAWRENCE: |
That’s enough! Let’s hurry up with the wedding. |
|
FADE.
|
|
|
SCENE 14 |
EXT. VERONA STREET.
|
|
TYBALT: |
Mercutio, where is Romeo? |
|
MERCUTIO: |
Tybalt, even if I knew, I wouldn’t tell you. |
|
TYBALT: |
Have at you!
|
|
|
WE HEAR THE SOUND OF A SWORD COMING OUT OF ITS SHEATH. THEN HE SEES ROMEO COMING) Ah. Here comes Romeo, my man |
|
MERCUTIO: |
Your man? Is he one of your servants? |
|
TYBALT: |
A mistake. I should have called him a villain. |
|
ROMEO: |
Tybalt, I will forgive your anger. I love you like a brother, more than you can know. |
|
MERCUTIO: |
What !!?? Are you a coward, Romeo? I’ll be happy when Tybalt is dead! |
|
|
(MERCUTIO UNSHEATHES HIS SWORD) |
|
ROMEO: |
Noble Mercutio. Put your sword away. |
|
TYBALT: |
What would you have of me? |
|
MERCUTIO: |
Good King of Cats, I would have more than one of your nine lives. |
|
|
(TYBALT UNSHEATHES HIS SWORD) |
|
TYBALT: |
I’m ready for you |
|
|
(WE HEAR HEAVY BREATHING, FOOTWORK AND THE CLASHING OF SWORDS.) |
|
ROMEO: |
Tybalt !! Mercutio!! Put your swords away!
|
|
The Prince has banned fighting in the streets. |
|
|
MERCUTIO: |
Aaargh! |
|
TYBALT: |
Take that! |
|
MERCUTIO: |
Aah … (HE FALLS TO THE GROUND) |
|
|
(ROMEO KNEELS BESIDE HIM) |
|
ROMEO: |
He’s dead. (TO TYBALT. ANGRY NOW) |
|
|
Now, Tybalt, you can call me “villain”. |
|
TYBALT: |
You poor little boy. Do you want to go to heaven with him? |
|
|
(ROMEO LEAPS TO HIS FEET. CLASHING OF SWORDS) |
|
ROMEO: |
This sword shall decide who dies. |
|
TYBALT: |
(GROANING) I die. You have slain your enemy. |
|
ROMEO: |
Oh, I am a fool. I have killed my beloved’s cousin. |
|
(HE DROPS HIS SWORD) |
|
|
ROMEO: |
I must flee. |
Homework: What happens next?
Help your students to write and then perform their own endings.
The teacher gives the students rewards, perhaps an English through Drama certificate.
For their homework please let them draw any character or action from “Romeo and Juliet”
Also write his/her name on the picture. Or for homework continue with finding the answers to research questions.
Or best of all get the students to complete their own version of the script.
Once they have done this your school or drama club can also produce and perform the full stage version of Romeo and Juliet.
They can also download the first fifteen scenes of The Audio Play.
You can submit your students’ pictures to the English through Drama website. The best pictures will go on the website. If they wish we shall add their name, school and / or country. Also encourage your students to submit their pictures.
We have several pages with advice on creating an audio play. Have a listen! You might be inspired to create your own audio play!
We have advice on the use of music in plays and particularly the music of the great classical composers and of film music. Have a listen !
