‘Zounds! scene two availabe

13 Jul

Greetings Bard Brawlers.

For those eagerly awaiting the arrival of Act III of Richard II, fear not; it will soon ring out on podcast speakers around the globe.

In the meantime, you can purchase the journal that has occupied so much of our lives for the past month as ‘Zounds! Act I, scene ii is now available:

Click the button and let 'Zounds! be yours.

Click the button and let ‘Zounds! be yours.

Special thanks to the staff at Brutopia for hosting the launch, and to Andre Simoneau and Brendt Thomas Diabo for playing.

Brendt Thomas Diabo playing the 'Zounds Launch.

Brendt Thomas Diabo playing the ‘Zounds Launch.

CCCCEO Eric Jean going over the finer points of Shakespeare

CCCCEO Eric Jean going over the finer points of Shakespeare

Poet and singer/songwriter Andre Simoneau takes the mic

Poet and singer/songwriter Andre Simoneau takes the mic

'Zounds! scene ii described by someone as "the greatest follow up to anything anywhere since Italy's 1938 World Cup run."

‘Zounds! scene ii described by someone as “the greatest follow up to anything anywhere since Italy’s 1938 World Cup run.”

Matching and dashing are Brawlers Jay Reid and Amrit Sanger.

Matching and dashing are Brawlers Jay Reid and Amrit Sanger.


Brutopia Brew Pub - 1219 rue Crescent, Montreal, Quebec H3G 2B1.

Brutopia Brew Pub – 1219 rue Crescent, Montreal, Quebec H3G 2B1.

Launch Party – ‘Zounds! Act I, Scene ii: “T”

7 Jul
Brutopia Brew Pub - 1219 rue Crescent, Montreal, Quebec H3G 2B1.

Brutopia Brew Pub – 1219 rue Crescent, Montreal, Quebec H3G 2B1.

It’s been a few months since the last time the Bard Brawl threw a brew pub bash but the wait is finally over!

We’ve got something to celebrate: the latest issue of ‘Zounds!, which we’ve called Act I, Scene ii: T, is finally ready to be unleashed upon the world!

We want you to come get your Bard on with us at Brutopia, on Thursday, July 10th, starting at 8pm!

You know the place. Looks kind of like this but rowdier!

A party space Falstaff would be proud to get drunk in!

The only thing missing in this picture is you, beer and ‘Zounds!

Once again, we’ll be offering copies of the latest issue of ‘Zounds! for a special Brawler price of $10 each for anyone in attendance.

We’ve also upped our game this time and in addition to some great ‘Zounds! readings, Brendt Thomas Diabo will provide some awesome live drinking music!

If you’re planning to come by – or would like to but can’t because you’re busy working on your pick-up monologues – why not swing by our Facebook Event page and let us know? And while you’re there, why not spread the word? We’d really appreciate it!

Hope we’ll see you there!

Stay in Touch Brawlers!

Follow @TheBardBrawl on Twitter.

Like our Facebook page.

Email the Bard Brawl at bardbrawl@gmail.com

Subscribe to the podcast on iTunes

Or leave us a comment right here!

‘Zounds!, It’s Just Around the Corner!

29 Jun
Artwork - Stephanie E.M. Coleman

Artwork – Stephanie E.M. Coleman

Hi Brawlers!

Just thought we’d let you know that we’re sorry things have been a little slow with the podcast of late but that we’ll be back with the last three acts of Richard II soon.

I’m sure you’ll forgive us when you find out why though: we’ve been hard at work on the next issue of ‘Zounds!

Exciting, right? The submissions are in (and they’re awesome!) and we’re just putting the final touches on everything so we’ll be ready to launch in the next couple of weeks!

We’ll let you know where the party’s at – and where you can get your 2nd issue of ‘Zounds! – as soon as we’re ready to launch!

Stay tuned for more news in the new few days!

But hey, while you wait for the next issue to come out, why not catch up on your reading by getting your hands on our previous issue of ‘Zounds: Act I, scene i: one to seventeen?

BB: King Richard II, Act II

25 Jun

(Podcast recorded and produced by Daniel J. Rowe, blog written and edited by Eric Jean)

Welcome back Brawlers to the Bard Brawl! This week we have act II of Richard II where you might just see exactly how not to act if you’re an unpopular ruler in search of money.

Listen to or download the podcast, or better yet subscribe on iTunes.

With John of Gaunt (the Duke of Hereford) on his deathbed and his son Henry Bolingbroke banished, King Richard swoops down on Ely house in scene 1 to listen to the dying words of the most popular man in the kingdom.

(BTW, it’s pronounced ‘Eel-y’ House. So says Bard Brawler Niki Lambros whose expertise on the subject of places named after eels we are willing to stipulate to while admitting that zero effort has been made by myself to verify its authenticity. But sounds plausible.)

When the king does arrives, Gaunt has just finished telling the Duke of York that he’s got some harsh words for Richard. Gaunt thinks that the fact that he’s dying is going to make Richard pay attention but the Duke of York’s not so sure that Richard wants to hear about how he’s gone and ruined England.

Yup. Richard doesn’t really dig being called “landlord of England,” that his father would be ashamed of him, that… well, you should really just click on the video of Patrick Stewart here and have a look for yourselves.

After his speech, Gaunt’s carted off and pronounced dead. In the words of his most caring lord, King Richard II, “So much for that.”

Time to cash out!

Richard declares that he’s taking everything Gaunt owns to fund his wars. Problem is, Gaunt has a son, Henry Bolingbroke, and this stuff’s supposed to be his by law.

Now, I’m no expert but stealing someone’s inheritance might just get a few people thinking, “Well, what’s to stop him from taking my lands whenever he wants to.” York tries to talk some sense into Richard but I guess Richard figures he’s got 6 years to come up with a convenient excuse to fix this.

Except for the fact that the way news travels in some of these history plays, there’s a small chance that Bolingbroke will have heard of this even before Richard announced he was taking the money.

Why, who’s that disembarking with an army at Ravenspurgh?!

We’re not even done with the act when a few of the other lords at Ely House decide, “To hell with this chump!” and head off to Ravenspurgh to give their support to Henry Bolingbroke… with the sole intention of helping him reclaim the lands he hadn’t yet lost when he set sail. And in no way shape or form do any of them have any plans to back him should he decide to take the throne.

That ought to work out perfectly.

But what if Henry, supported by a cast of rebellious upstarts like the New York Rangers does in fact have his eye on the crown? Can this Henrik “The King” Lundqvist truly challenge what Mike Richards‘ so-called Kings have taken for granted is theirs? (Ed. So that joke seems a little less timely now…)


Change of scenery in scene 2. Richard’s yes-men Bushy and Bagot are trying to comfort the queen. Seems she’s got a bad feeling that things aren’t going to work out for King Dick II. Then Green arrives and informs everyone that Bolingbroke’s back and bleeding Richard’s support so things look damn shitty. And the Duke of York, who’s been left behind to keep the peace while the king is in Ireland, knows it. In fact, he’s torn up: on the one hand, he took and oath to the king. On the other hand, Richard’s an asshole and Bolingbroke is kind of awesome.

Still, he commits to fighting the rebels because that’s the kind of guy he is. The king’s cronies – Bushy, Bagot and Green – just bail of course and go into hiding hoping they’ll still have heads when this is finally done.

Meanwhile, in a forest somewhere in Gloucestershire, Henry Bolingbroke is leading a growing army towards Berkeley. (Here, not here.) He’s joined along the way by some of the other lords who think he’s been shafted by Richard. His main allies are Earl of Northumberland and his son, Henry Percy. It just so happens they hate Richard’s guts so this seemed like the perfect opportunity to stick it to him.

The Duke of York arrives and demands to know what he #$%@ is going on. Smooth-talking Bolingbroke tries to talk his way around the problem but York’s not having any of it: he accuses him of treason. Henry tells him that he’s come to take his lands by force only because the king can’t be reasoned with. And of course he pinky swears that he’s not at all interested in the crown “no sir, just my lands please and thank you.”

York’s not convinced but he knows that he can’t beat them so he just decides he’s going to stay out of it… but there’s no harm in inviting everyone in for tea and a sleep-over, right?

Finally, just when we thought it was looking bad enough for the king, we learn in scene 4 that some of the last of his supporters are sick and tired of waiting around for what is going to be a fight they’re bound to lose. The earl of Salisbury, one of the few nobles still loyal to Richard, calls the fight before the first round even starts: seeya later Dick.

Welcome back to the land of the brawlers Jack Konorska, who lends his musically blissful voice to sonnet 32.

So now what? I bet you’ll find out in the next episode of the Bard Brawl.

And hey! Buy ‘Zounds! You’ll never regret or forget it. Volume II is due out soon. Stay tuned.brassknucklestshirt1.png

Stay in Touch Brawlers!

Follow @TheBardBrawl on Twitter.

Like our Facebook page.

Email the Bard Brawl at bardbrawl@gmail.com

Subscribe to the podcast on iTunes

Or leave us a comment right here!

BB: King Richard II, Act I

1 Jun

(Podcast recorded and produced by Daniel J. Rowe, blog written and edited by Eric Jean)

Welcome Brawlers to the Bard Brawl’s tenth play! To celebrate our historic achievement, we bring you Shakespeare history play The Life and Death of Richard the Second. It’s also called Richard II.

Listen to or download the podcast, or better yet subscribe on iTunes.

We haven’t even started yet and you’re already confused, aren’t you? You’ve listened to our Henry VI part I podcasts and thought “I like that all these heads are rolling but I just wish I knew who they belonged to!”

I hear that.

Lucky for us, Shakespeare learned quite a bit about writing history plays between writing his first tetralogy (Henry VI parts I, II and III, and Richard III) and the second tetralogy (Richard II, Henry IV part 1 and II, and Henry V)

If you need a reminder about the chronology of the plays, check out the first part of introduction to Shakespeare’s history plays about the War of the Roses.

Here the short version though: first tetralogy was written first but describes events which happen at the end of the War of the Roses (ie: Peter Jackson’s Lord of the Rings). The second tetralogy was written later but the events take place at the start of the War of the Roses (The Hobbit).

Boom. Now you know everything.

Turns out that fewer characters, clear motivations for characters and a stronger plot arch combine to make a much better play. Don’t worry though, there’s still plenty of death and betrayal.

The play starts at King Richard’s court. Henry Bolingbroke (the Duke of Hereford) is accusing Thomas Mowbray (the Duke of Norfolk) of treason. Specifically, Bolingbroke accuses Mowbray of the murder of the Duke of Gloucester as well as stealing royal funds. The two men want to be allowed to settle the matter with a duel. They play a little ‘he said, she said’ and the king asks his uncle John of Gaunt (who is also Henry Bolingbroke’s father) to help calm everything down. When that fails, the King sets a date for a trial by combat, the only civilized way of putting an end to the finger-pointing and the name calling.

The Duchess of York is pleading with John of Gaunt to take a direct hand in avenging the death of Gloucester in scene 2. She’d like nothing more than for Gaunt to grab a buddy like Carl Weathers or Bryan Genesse and go Street Justice on Mowbray.

He tells the Duchess to forget the uncouth vigilante curb stomp. They’ll just have hope that Bolingbroke kills Mowbray for them.

So scene 3. We’re at the Coventry grounds which is the jousting a duelling field where the big trial by compact is about to take place. Henry Bolingbroke and Thomas Mowbray are all armoured up, on horseback, lances levelled at the opponent’s chest, ready to charge. The herald-ringside announcers introduce them, the intro music plays and the trumpet sounds the charge, this is it!

And then the king stops the fight and orders the fighters back to their corners.

Instead of a nice clear fight where this would be settled once and for all, one way or another, the king decides he’s just going to banish both of them. Seeing that he’s such a fair guy though and doesn’t want to play favourites (we know he’s fair because King Richard tells us, right?) he decides that he will banish Mowbray for life and Bolingbroke for 10 years. Of wait! Is that John of Gaunt I hear crying? No worries, let’s make it six years for Bolingbroke.

I’m sure everyone will agree that this is totally and completely fair and that no bad feelings whatsoever will ever come out of this.

As soon as Henry Bolingbroke leaves in scene 4, Richard starts thinking about how popular Henry is with the common people of England. He starts wondering if this is going to be a problem when Henry comes back in 6 years. (It will be.)

What do the King’s right hand men do?

Change the subject.

“Hey, remember all this fighting we need to do in Ireland? We might want to get started on that.” The king agrees with him but, seeing as he’s short on cash from throwing too many parties, he sets up an aggressive taxation scheme which I am sure will not at all make him more unpopular with the people of England.

Before they leave, however, Sir John Bushy arrives with an announcement that John of Gaunt is on his deathbed. Did someone say free money? Seeing as John of Gaunt is one of the richest men in England, King Richard “The Vulture” flies to Ely house, ready to scoop up his lands when he dies.

If you’re still having a hard time following along, here’s a list of the major characters which appear in this act:

  • King Richard II: The king of England and a cousin of Henry Bolingbroke. He’s got a reputation of spending money irresponsibly and trying to recoup the loses in taxes. Not a very popular guy with the people
  • John of Gaunt, Duke of Lancaster: One of the most popular nobles in England, he’s also stinking rich. He’s Henry Bolingbroke’s father and Richard II’s uncle.
  • Henry Bolingbroke (sometimes spelled Bullingbrook): He’s the son of John of Gaunt. He gets banished from England but when the King snatches his lands away from him, he comes back to England to take back what’s his. He will become Henry IV by the end of the play.
  • Thomas Mowbray: The Duke of Norfolk. He’s accused of treason by Bolingbroke and banished from England for life.

I wonder how Henry Bolingbroke will feel about the king taking his inheritance away from him like that?

And hey! Buy ‘Zounds! It’s the Bard Brawl’s first ever journal. You’ll never regret or forget it.brassknucklestshirt1.png

Stay in Touch Brawlers!

Follow @TheBardBrawl on Twitter.

Like our Facebook page.

Email the Bard Brawl at bardbrawl@gmail.com

Subscribe to the podcast on iTunes

Or leave us a comment right here!

Othello (1981), Jonathan Miller (director)

18 May

Daniel J. Rowe

It’s always sad when a bard legend leaves us. Unfortunately for us youngins’ we will simply have to suck it up and get used to it, as the legends who brought us great stage performances since the 60s are turning 70, 80 and 90.

So it goes, as another great writer once put it. So it goes.

Bob Hoskins has 114 acting credits to his name, and he played arguably the greatest villain in all of Shakespeare, Iago. It was in the BBC’s 1981 production of Othello. Wanna Watch? Full version below.

That was fun. You’re welcome.

First off, the makeup.

I’ll admit, it takes a second and a little swallowing of appropriateness when Anthony Hopkins (not Moorish) steps on camera as the Moor, Othello. Othello has been portrayed in a number of ways with some actors going full on blackface (always a ‘treat’), some producers amping up the orientalist look (still not completely appetizing), and some productions getting a black actor to play it. The last choice is the best to be sure, but some of the others are not all bad. Are Orson Welles, Laurence Olivier or Paul Scofield racist for wanting the best role or maybe just arrogant to think that they can pull it off?

Pick another part guys. Hey! Why not Iago?

That being said, Hopkins is very good in this Othello. He travels the gauntlet that is the role, and encapsulate the power of the tragedy. He works well alongside the other impressive talent in this play, and is great on-screen with Hoskins.

Speaking of which.

(Hey! Hopkins and Hoskins. That’s fun)

Iago is one of the most complicated and important roles in all of Shakespeare, and if you miscast the sadistic murdering villain, the production’s doomed. Just ask Kenneth Brannagh (Actually, don’t ask. he won’t admit he was the wrong choice. It’s best not to ask).

Hoskins is able to nail the key question about Iago: why does anyone like/believe him? The answer is in the performance. Hoskins is blunt, crude, and a little nasty, but not in the way any of those friends you know you have are. It’s that bluntness and hamminess that allows Iago to throw the other characters off his scent, so he can mess with them and litter the stage with bodies.

That, and the verbal missiles he fires through the fourth wall are great.

Take Act V, scene i, the scene where all of Iago is on display.

Hoskins will be missed as an actor for simply being able to pull of this scene. He, as Iago, first manipulates Roderigo into doing something he’s not entirely sure he wants to do, then laughs at his plan, then realizes he might get found out, decides to kill Cassio, actually kills Roderigo, tears his shirt in two to help mend Cassio (everyone totally buying the act), blames Bianco for being a strumpet and has her carted off, and then nails this killer line:

This is the night that either makes me, or foredoes me quite.

…And scene.

Man this play is great.

It’s worth the three hours to watch Hoskins in this scene. He uses his whole body, and can deliver so much expression with his face. It’s really quite a performance, and he hasn’t even killed his wife yet.

The rest of the cast is also very good.

Just before Act V,i, check out Penelope Wilton (yes Isobel Crawley to those Downton Abbey devotees (poor Matthew)) nail the heartbreaking IV,iii all while being stared at by a skull. Very good.

Sheesh this play is intense.

Oh, and then there’s the final scene. Not to spoil anything for those who haven’t seen the play or movie version, but let’s just say the final line is not, “all in all it was a really weird trip to Cyprus.”

Demand me nothing; what you know, you know:

From this time forth I will never speak word.

- Iago.

Rest In Peace Bob Hoskins (1942-2014).

You will be missed.

BB: Romeo and Juliet, the Speeches

4 May

(Podcast recorded and produced by Daniel J. Rowe, blog written and edited by Eric Jean)

Welcome Brawlers! Now that we all know how Romeo and Juliet ends, let’s wrap it up with out Speeches podcast!

Listen to or download the podcast, or better yet subscribe on iTunes.

For this podcast, we figured that all of you in Bard Brawl nation were already familiar with many of the famous speeches from R&J so we’ve steered conspicuously clear of “Queen Mab”‘s and “yonder window”‘s to give you a selection entirely chosen to prove our theories right.


“Bid a sick man in sadness make his will” Act I, scene 1
Speakers: Romeo, Benvolio
Here’s Romeo, pouring his heart out to his buddy Benvolio about the love of his life, Rosaline. Romeo loves a woman. Fact. Rosaline told Romeo that she has sworn to live chaste rather than give in to his advances. Fact. Benvolio thinks Romeo is totally overreacting about this whole Rosaline business. Fact. Rosaline is just feeding Romeo that line to get rid of him? Probably.

“Be plain, good son, and homely in thy drift” Act II, scene 3
Speakers: Friar Lawrence, Romeo
After pouring his heart out to Benvolio about how he’ll never get over Rosaline, here’s Romeo in his fits of passion for Juliet. Sounds like Friar Lawrence heard all of Romeo’s lines before because he calls Romeo on it. The friar agrees to help him out but doesn’t think Romeo will make much of a husband. It’s a good thing Shakespeare never wrote in a third teenage girl into the play…

“Jesu, what haste? can you not stay awhile?” Act II, scene 5
Speakers: Juliet, Nurse
After seeing how Romeo handles his bouts of love, here’s Juliet who’s been waiting impatiently for her nurse to arrive with a status update about Romeo. The nurse is trying to catch her breath. Juliet is grilling her to get all of the details of the plan to run off and get married with her Romeo. God these two deserve one another.

“Come, come, thou art as hot a Jack in thy mood as” Act III, scene 1
Speakers: Mercutio, Benvolio
Benvolio, who likes to think he’s a level-headed peacemaker, and Mercutio, who knows very we that he isn’t, are arguing about which one of them has the shortest temper. Where are they? Standing in the middle of the street, in the hot sun, moments before Tybalt some Capulets come around the corner. Sounds like some peace is about to be made!

“Holy Franciscan friar! brother, ho!” Act V, scene 2
Speakers: Friar Lawrence, Friar John
You’d think that if I agreed to deliver a letter for someone, I wouldn’t pay any house calls to plague victims. Well, I guess Friar John didn’t see an issue with it until he was quarantined. So much for delivering that super important letter to Romeo which, if he had received, would have totally fixed absolutely everything according to Friar Lawrence’s absolutely ludicrous plan.

Coming up soon? A new play which has yet to be announced. So get your votes in now! Leave us a comment, send us an email or hit us up on our Facebook page and tell us what play you’d like to hear us Brawl!

2014 comeback sonneteer of the year Kayla “no internet presence” Cross returns to the brawl with an in character rendition of sonnet 54.

If you’re in the area, check out the Manhattan Shakespeare Project‘s all female rendition of Romeo and Juliet running from the end of May to the beginning of July.

Don’t forget to submit to the next issue of ‘Zounds!


artwork - Leigh Macrae

artwork – Leigh Macrae

And hey! Buy ‘Zounds! You’ll never regret or forget it.brassknucklestshirt1.png

Stay in Touch Brawlers!

Follow @TheBardBrawl on Twitter.

Like our Facebook page.

Email the Bard Brawl at bardbrawl@gmail.com

Subscribe to the podcast on iTunes

Or leave us a comment right here!

Submissions open for ‘Zounds!, Act I, Scene 2

29 Apr
Artwork - Stephanie E.M. Coleman

Artwork – Stephanie E.M. Coleman

The Bard Brawlers are getting ready to put together the second scene of ‘Zounds!, a Bard Brawl journal.

The theme is ‘T.’

T as in Timon, Troilus, Tyrell, Tybalt, theme, tights, Titus, throne, taming, truncheon, thane, tempests, tragedy.

You get the idea.

Those wanting to submit an article, poem, short story, creative short fiction piece, drawing, photo, or anything else Shakespeare related can send us an email at bardbrawl@gmail.com.

To get a better idea of what we’re looking for, please order our inaugural journal One to Seventeen.


BB: Romeo and Juliet, Act V

13 Apr
Artwork - Leigh Macrae

Artwork – Leigh Macrae

(Podcast recorded and produced by Daniel J. Rowe, blog written and edited by Eric Jean)
Welcome Brawlers! I know Bard Brawl nation’s been waiting impatiently for this one and here it is, the dramatic conclusion to Romeo and Juliet.

Listen to or download the podcast, or better yet subscribe on iTunes.

I know you’ve all been dying to find out how this play ends so here it is: they die! Yup. Juliet, dead. Romeo, dead.

“For never was a story of more woe / Than this of Juliet and her Romeo.”

And that’s it really. The end.

Oh, details?

Well, I don’t see the point in digging up the morbid details of a teenage double suicide but here goes, I guess.

Romeo’s buddy Balthazar shows up (booted!) in Mantua in act V, scene 1. Romeo is hoping for some good news but instead he learns that Juliet died and has been entombed in the Capulet crypts.

But it’s all good though because Romeo must have received the Friar’s message that this is just en elaborate and really dangerous ruse to sneak Juliet out of Verona and get her out of having to marry Paris.

Except he hasn’t received anything so he totally believes that Juliet’s gone. What’s a lovesick fool to do? Seek out a poor apothecary who’s willing to sell you some illegal poison. Then take that vial of poison, sneak into Juliet’ tomb and drink it down so you can be united in death.

(Maybe this is a good time to say it: don’t try this at home folks.)

At the start of scene 2, Friar John drops in on Friar Lawrence. Did John get the letter to Romeo? No. Why? Friar John was helping a friend care for the sick. And then he was quarantined and forbidden to leave the city or hand off the letter to someone else who could bring it for him.


But Father Lawrence, never being one for giving up, calls for his crowbar and suits up: he’ll rescue Juliet himself and hide her at his place until he can contact Romeo again.

(Maybe they should have gone with this version of the plan in the first place?)

Act V, scene 3. Enter Paris. Yes, him again. What is he doing in the cemetery with a bunch of flowers in his hand? Why, he’s planing to cover Juliet’s bier with flowers and lie down next to her. Tonight and every night.

Paris’ page is standing looking out he whistles when Romeo shows up with Balthazar with a shovel and a crowbar (who’s making all of these crowbars?). Romeo tells his friend that he’s just going in there to get some ring back that he needs and that he should scram and ignore anything that goes on in there.

Balthazar must be as creeped out about this as I am because he instead decides that he’ll hide out and spy on Romeo for a while.

Romeo cracks open the tomb and is about to enter when he is accosted by Paris. They fight. Romeo kills Paris. With his dying breath, Paris asks to laid out next to Juliet. Yeah, sure.

Hey Paris! Get a clue. Romeo and Juliet, not Paris and Juliet. (And definitely not Paris, Romeo and Juliet.)

Romeo enters the tomb and find Juliet lying there, lifeless. So he makes this massive death-bed speech and downs the super fast-acting poison.

…and then Friar Lawrence arrives.

Balthazar tells him Romeo’s been in there doing God knows what for about half an hour. Friar Lawrence notices the bloody swords and then Paris’ body.

…and then Juliet wakes up: “Hey, where’s Romeo?”

He’s kinda sorta dead.

Juliet’s not too excited at the prospect of living the rest of her life as a nun I guess so she grabs Romeo’s dagger, stabs herself and dies.

The watch finally arrives and takes everyone into custody while they wait for the prince to show up. When he does, Friar Lawrence spills the beans on the whole crazy plan.

Finally, the prince blames the Montague’s and Capulet’s feud for causing their children’s death. Overcome with grief, the Montagues and Capulets finally reconcile.

No one cares what happens to Paris.

We’re not quite done with Romeo and Juliet yet, though. We still have a speeches podcast coming up. If you have suggestions for which speeches you would like us to talk about, let us know in the comments below!

This week, another first-time sonneteer swings by as Kathleen “Momar” Rowe delivers Sonnet 55 with “Epic Diva” effect.

And hey. Buy ‘Zounds! You’ll never regret or forget it.

Stay in Touch Brawlers!

Follow @TheBardBrawl on Twitter.

Like our Facebook page.

Email the Bard Brawl at bardbrawl@gmail.com

Subscribe to the podcast on iTunes

Or leave us a comment right here!

BB: Romeo and Juliet, Act IV

2 Apr
Artwork - Leigh Macrae

Artwork – Leigh Macrae

(Podcast recorded and produced by Daniel J. Rowe, blog written and edited by Eric Jean)

Welcome back Brawlers to Romeo and Juliet. This week, we take on act IV of R&J.

Listen to or download the podcast.

Well, despite the fact that we’ve already established that postponing the wedding of Juliet and Paris from Wednesday to Thursday was totally reasonable, by the start of act IV, Friar Lawrence just isn’t on board with that. Could he be right? Is that really too soon? Obviously, Friar Lawrence is really only worried about his hide: he can’t marry one girl to two guys. Well, not in this church at least.

On the other hand, maybe Paris is right: Tybalt was just a cousin. Pretty sure Emily Post’s wedding etiquette doesn’t even have an entry for the appropriate wait time in the event of a violent and non-accidental death of a (sort of) loved one. Just stick the mourning Juliet in a social event and we’ll peer pressure those tears right out of her.

Once Paris is shooed away, Juliet pulls a Romeo and breaks down but Friar Lawrence tell her that there’s still a slim chance for her and Romeo to be together forever. Small catch: she’ll have to kill herself.

Say what? That doesn’t seem very Christian!

Actually, she’ll have to take drink one of Friar Lawrence’s roofies sleeping potions which will make her seem dead for 48 hours. That will make her family bury her in the family crypt. Romeo will then swoop in, rescue her before she suffocates, and steal her away to Mantua while Juliet faking her death and Romeo killing Tybalt blows over. Shouldn’t take more than 2-3 weeks tops, right?

Looks like everything is good to go. Friar Lawrence just needs to let Romeo know about that plan and everything will turn out perfectly.

In scene 2, Lord Capulet is busy planning the wedding when Juliet walks in and seems suddenly and mysteriously zen about the whole marrying Paris thing. She just wants to make daddy happy. Nothing suspicious about any of this at all.

Juliet retires and asks the nurse to help her pick out a suitable wedding outfit. Once she’s picked out her outfit, she dismisses her nurse and lies down on the bed with Friar Lawrence’s elixir. Can she really trust that this potion will work properly? Will she ever wake up? Is this really going to work? Only one way to find out: down the hatch!

The following afternoon, preparations for the wedding are in full swing, and Paris is just about to show up for his big day! Time for Juliet to wake up!

Except she doesn’t.

The Nurse finds her lying dead in her bed in scene 5. Everybody files into the room: mom, dad, Paris and of course Friar Lawrence. The friar tries to calm everyone down. Creepy Paris still thinks this is about him somehow and asks to lie down next to her. Lord Capulet orders the food to be served as a funeral feast, the musicians are asked to play some sad music. They agree once they’re sure they’ll still get paid, and be allowed to stick around for the buffet.

I wonder if Friar Lawrence has any idea whether his potion worked or not. I also wonder how his archbishop would feel about all of this. And where the hell is Romeo and what has he been doing in the past few days? He wasn’t in this act at all!

Guess you’ll have to wait for act 5 to see if he got our text message /email/ Facebook invite / carrier pigeon / monk-o-gram.

Please Welcome our newest sonneteer to the brawl, the legendary lord of St. Leonard, Mark Della Posta reading sonnet 39.

Mark should not be confused, however, with the other legendary lord of St-Leonard, Roberto “The Manimal” Luongo.

The Manimal

The Manimal

And hey! Buy ‘Zounds! You’ll never regret or forget it.

Stay in Touch Brawlers!

Follow @TheBardBrawl on Twitter.

Like our Facebook page.

Email the Bard Brawl at bardbrawl@gmail.com

Subscribe to the podcast on iTunes

Or leave us a comment right here!


Get every new post delivered to your Inbox.

Join 326 other followers