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.
And hey! Buy ‘Zounds!You’ll never regret or forget it.
Miki Laval When I was 15, I knew exactly what loved looked like. Love was a slim blond boy with lanky legs, and hair I wanted to sweep back from the sides of his pretty face. He walked quickly and sat quickly. He came and left rooms quickly, every muscle always ready to go. To me, his speed was beauty and grace. Yet love was also languid and brooding, a poet, of course, who scribbled in a notebook between long stretches of staring into space while smoking a cigarette. In other words, this:
Sigh… To a 15-year old girl, one still plastering her walls with rock star posters, love sure looks a lot like a young Leonardo DiCaprico. He’s my generation’s definition of a heartthrob, and so a delicious fit for the world’s most epic teenage love story. Yes, he’d already shown rare talent in What’s Eating Gilbert Grape? and The Basketball Diaries, yethe and co-star Claire Danes were essentially darlings from TV land back in 1996. Then Romeo + Juliet hit theatres, and both actors proved they had serious chops, capable of moving from puppy love to the grand passion all tragedy requires. So how did the duo handle the Elizabethan dialogue? Well, at the time, there was a lot of clamour from outraged purists, but I’ve re-watched the film twice in the past few days and the Bard’s iambic pentameter sounds pretty good to my ear. Or I’ll say this, though neither Danes or DiCaprio have perfect elocution, the words flow with an intensity and ardor you don’t learn in theatre school. Besides, the point of Romeo and Juliet (the play) is that the central characters are children, and what acting skills Leo and Claire bring to the film is all in their baby faces, their creamy skin, their youth, not in their tongues. Yes, they are that pretty. Just watch them steal looks at each other in the infamous fish tank scene.
Forget Leo as Romeo. Isn’t Danes as Juliet melting loveliness? She clearly lusts for Romeo, yet despite what’s coming – a head spinning series of kisses that will leave her in a state of prickly heat – she keeps her wits about her. Later, the two swirl around each other from ballroom, to elevator, to balcony, to swimming pool, all the while bandying words back and forth with passion and spirit. Danes and DiCaprio understand that language is foreplay and an artful, erotic pleasure. To the naysayers who claim the dialogue isn’t up to snuff, I say these two make Shakespeare sound sexy. As for the film itself? There are throbs of neon in the night. Gobs of neon. Blazing fireworks explode across the black skies. There is all the razzle-dazzle, costumery, bubbles, bells and whistles anyone could dream of. Director Baz Luhrmann opens his film like the bullet-spraying master Tarantino; he choreographs the fight scenes as beautifully as John Woo, meanwhile, the frenzy of jump cuts make MTV (you remember MTV) seem like a stumble on Quaaludes. All this whirlwind action serves to convert the play’s intense emotions and language to vision. This is a play you see more than hear. And, boy, in the switch from the ear to the eye, does Luhrmann go wild with the modern images. Instead of gold, wads of cash are flaunted. Instead of swords, flashy semi-automatic pistols are drawn. Horses are doffed for retro convertibles that burn up the urban streets. It’s a nice touch too, having the two gang families dress in opposing “colours,” the Montagues favouring Hawaiian shirts, while the Capulets mobster up in dude suits. The film also features a gifted gaggle of players, most notably Harold Perrineau as a black gender-bending Mercutio, Pete Postlewaith as the splendid, scene-stealing Father Lawrence, and a corpolent Paul Sorvino who plays Juliet’s daddy like a bizarro wiseguy from Goodfellas. “Paulie may have moved slow, but it was only because Paulie didn’t have to move for anybody,” Henry Hill. Throw in some castles, some choppers, some bulletproof vests, and boom, Luhrmann shakes up a 400-year-old play without bowdlerizing or breaking its central and touching innocent idea. Which is what exactly? Only that love, sweet love, still blooms despite the violent world that usually steamrolls over it. The tragedy of Romeo and Juliet is nothing new, of course. Besides the innumerable theatrical productions, it’s been made over as a ballet, as well as a Broadway musical, and now there’s a new British film adaptation based on a Julien Fowles screenplay. To the latter, I say, Yea Gads! go rent Baz Lurhmannn’s rabidly flamboyant version instead. The fervour and grace of his Romeo and Juliet will have you free falling into the giddy, head-tripping, crush of epic love.
Welcome back to the Bard Brawl and act II of Romeo and Juliet. I hope your Valentine’s Day story worked out a little better than theirs. Although, really, I guess they did have a pretty bangin’ first date.
Like the first act, act II opens up with a Prologue. Don’t remember this prologue? That’s probably because no one stages it. And why would you? You just finished this blockbuster first act of death threats and teenage lovemaking and Shakespeare wants you to stop to listen to someone tell you about how they need to figure out a way to meet in secret.
Yeah, we figured that since their two families are at war, they might not be so keen to announce they started dating. Thankfully, Shakespeare seems to figure this out because that’s the last of the prologues for this play.
Mercutio and Benvolio spot Romeo sneaking out of Juliet’s house in scene 1 but they must not have realised who’s bedroom he’s sneaking off to because Mercutio tries to get his attention by invoking his ‘love,’ Rosaline. You’d almost get the impression this wasn’t the first time they spotted him sneaking into some girl’s bedroom in the middle of the night. Romeo clearly doesn’t want to be found out and they would much rather make fun of him behind his back so after doing that for a minute or two, they head home to bed.
So here’s the set-up for act II, scene 2, one of the most famous (and totally made up) love scenes in the world:
Having sneaked into the Capulet orchard by jumping the fence, Romeo makes his way to Juliet’s window, which is a little unsettling because he seems to know exactly where that is despite the fact that she lives in a huge estate. While he’s hiding in the bushes (trying to catch a glimpse of her undressing) Juliet walks out onto the balcony. Romeo goes on and on like he’s a hockey announcer providing some sort of play by play for some imagined audience.
Juliet, like Romeo, seems to have a habit of speaking her thoughts aloud which, in this case, happens to work in her favour because Romeo hears her and announces his presence. She’s a little creeped out that he’s here at first but after some blah blah back and forth they agree that the best course of action – and the thing they most want in the world – is to get married.
No problem. Romeo tells her to get in touch by 9am and he’ll have worked out a plan.
At the start of scene 3, Friar Laurence is quietly pruning his plants when Romeo barges in, out of breath and babbling on about how he’s in love and that he needs the Friar’s help. The friar’s a little surprised that Romeo so quickly forgot Rosaline, his one true love, and now wants to marry Juliet. He doesn’t seem to have much faith in Romeo’s constancy but he agrees to marry them only because he thinks that this might put an end to the Montague and Capulet feud.
Wait, what? Does he even realize what he’s saying? When has two people marrying ever made warring in-laws kiss and make up? Maybe it will work out this one and only time though.
Romeo’s friends Mercutio and Benvolio as hanging out in the street making fun of Romeo (again) and Tybalt when Romeo runs into them in scene 4. They mock him for ditching them last night and make a bunch of jokes involving penises such as: “then is my pump well flowered.” Juliet’s nurse arrives to meet with Romeo where they discuss the plan to sneak Juliet out of her house: she just needs to tell her folks that she’s stepping out for a quick confession at father Laurence’s. The Elizabethan equivalent of “I’m going to the library to study.” No mother or father would ever doubt that excuse. Brilliant!
Meanwhile, Juliet’s been waiting impatiently for her nurse (who is starting to come off as more of a pimp, really) to come back with news from Romeo. Back and forth between the two of them which seems designed to torture poor Juliet but eventually the nurse spills the beans: head to Friar Laurence’s place where he’ll marry you and you’ll finally get to have sex! And then you’ll get pregnant which is exactly what every 13-year-old wants, right?
In the final scene, Romeo is waiting for Juliet to show up. Friar Laurence tries to get him to chill out a bit, to slow this love train down a little, but when he sees Juliet, he seems ready to get on it himself. (He also wins the creepiest line of the play award for this gem: “Romeo shall thank thee, daughter, for us both.”)
Off they go to get married in secret, like two totally responsible adults who have carefully weighed the pros and cons of their decision and are in no way whatsoever rushing into the mistake of a lifetime.
Can we expect a honeymoon scene in act 3? I sure hope so!
And hey. Buy ‘Zounds! You’ll never regret or forget it.
You think you know this play because you read it in Mrs. MacDonald’s grade nine English class and had to write a 500 word essay on ‘why do we have to read Shakespeare.’ You wrote something like:
“We have to read Romeo and Juliet because it’s the greatest love story every written. […] It shows us how my parents are ruining my life with TJ/Cindi because they hate my boyfriend/girlfriend. They should just accept that we are in love and will spend the rest of our lives together living in their basement.”
After a week and a half of torturing (and being tortured by) the Shakespearean language about ‘Prince of Cats,’ ‘Queen Mab,’ ‘plagues on households’ and ‘purple fountains,” Mrs. MacDonald – because she just wants her suffering to end – gave you your ‘A’ and you moved on to Catcher in the Rye.
But admit it. Deep down, you feel ridiculous for writing those words. I mean, you were 14 or 15 years old. Of course you were naive and stupid. Just like a certain Juliet (almost 14 years old) or a certain Romeo (15 years old) everybody thinks they know. The only decision I could be trusted to make when I was that age was which Nintendo game to rent with my allowance money.
Try this synopsis instead, Mrs. MacDonald: two teenagers with more sexuality than sense are married in secret (and sacrificed on the altar) in order to try to put a stop to the constant feuds and vendettas of the Montagues and Capulets which have been tearing Verona apart for who knows how long. They die, feud ends, mission accomplished.
Don’t believe it? Too cynical? Well, let’s have a look.
Romeo and Juliet opens with a Prologue which tells us that isn’t going to end well. Two kids born from feuding families are going to need to die on order to put the feud to rest. Additional information provided: this play will last approximately 2 hours.
In scene one, Sampson and Gregory, two Capulets, are wandering the streets looking to pick a fight. They spot Abraham and Balthazar, two Montagues, and decide to start swapping insults. Eventually they draw swords but Benvolio (a Montague and Romeo’s friend) shows up and tells them to sheath their sword. Moments later, Tybalt (a Capulet and Juliet’s cousin) arrives. Benvolio asks him to help break up the fight but Tybalt attacks Benvolio and they fight. Soon Lord Capulet and Lord Montague show up and all hell breaks loose until the Prince shows up threatens to kill anybody who doesn’t immediately stop fighting. He asks for the Capulets to follow him and asks the Montagues to come see him later about this brawl. (ding!)
Benvolio fills the lord in on what’s going on and then Lady Montague asks about Romeo. Seems he’s been locking himself up in his room and crying a whole bunch, which we all know never happens with teenagers so something must be up. Eventually Romeo comes on stage. Seems he’s in love with a girl who doesn’t love him back, whatever that feels like. Benvolio, like a good friend, tell him that what he needs to do is to forget about Rosaline. (That’s the name of his one true love, the type of love that there’s no way he will ever have for anyone else, ever, in his lifetime!)
How to forget about Rosaline? Easy. Chase after other girls to sleep with love.
After his meeting with the Prince, Lord Capulet meets up with Paris in scene 2, a young man who’s really interested in marrying Juliet. Dad thinks she’s a little too young and that marrying to early is not a good thing. But, he’s willing to give his blessing is Paris can win her over. Lord Capulet is throwing a big party tonight and he thinks that would be a good opportunity for Juliet and Paris to meet. He gives a list of guests to his illiterate servant and asks him to go invite his other guests.
Coincidentally, Romeo and Benvolio are walking by and the servant asks them to help him read the letter. After the servant leaves, Benvolio gets a great idea: why not crash the party at the house of their mortal enemy?
We finally get to see Juliet in scene 3. She’s with her nurse who is still responsible for helping her get dressed and otherwise taking care of her while mom and dad get plastered with their friends. Lady Capulet comes and asks her daughter about Paris. She seems to like him so she hopes that Juliet will too. Juliet doesn’t seem very interested in the prospect of getting married but mom insists that it’s happening sooner or later so she better get used to the idea.
Benvolio and Romeo have met up with their buddy Mercutio and are headed to the Capulet party in scene 4. Benvolio and Mercutio alternate making fun of their love-sick and depressed friend. Romeo then tells them of a dream he’s had which he thinks is prophetic. Of course, Mercutio mocks him to no end. Romeo insists that he’s got a bad feeling about tonight but on they go to the party.
The final scene of the act takes place in the Capulet mansion. Lord Capulet walks in a makes a bunch of bad jokes about ladies’ corns and dancing – which I am sure they are thought was totally hilarious and tasteful. Of course, Romeo’s here and this is where he first spots Juliet, without realising that she’s a Capulet. He babbles on about beauty and Tybalt over hears him and realises that he’s a Montague. He’s a bout to storm off after him but Lord Capulet stops him: “he’s not a bad kid and he’s not causing any trouble. I don’t want you starting a fight with him in my house.”
Romeo, who doesn’t seem to care one little bit that he came here to see Rosaline (Rosaline who?), starts sweet-talking Juliet and manages to score a couple of kisses from her before she is called away by her mother. Romeo then learns that Juliet is the daughter of Lord Capulet. Time for the Montagues to leave.
As soon as they disappear, Juliet is asking the nurse about Romeo and learns the bad news: he’s a Montague.
I’ll say this for R&J: that’s a hell of an opening act!
While I suspect that many of you Brawlers know this play already, here are some of the key characters who show up in this act:
Benvolio: He’s one of Romeo’s buddies and, at least at first, is trying to keep the peace between the Capulets and Montagues.
Tybalt: One of Juliet’s cousins, he’s only too happy to look for reasons to fight Montagues.
Romeo Montague: Lovesick Romeo starts the play madly ‘in love’ with Rosaline and then, after spotting Juliet once, swears that he’s never loved anyone before. I’m sure he’ll make a great husband.
Juliet Capulet: She seems like a level-headed young girl at first but that goes out the window when she meets Romeo. She just can’t get married quickly enough.
Lord and Lady Capulet: The rulers of the Capulet family and Juliet’s parents.
Lord and Lady Montague: The rulers of the Montague family and Romeo’s parents.
Paris: A young, eligible bachelor looking to marry into the Capulet family. The parents like him but he didn’t stand a chance with Juliet.
Mercutio: A friend of Romeo’s who has no patience for Romeo’s melancholic self-pity and who sees what Romeo calls love as lust.
Next week: more bad, life-altering decisions made by horny teenagers.
Oh, and happy valentine’s day.
Also, get ready for a big upcoming announcement about ‘Zounds!