Download 1 Romeo and Juliet By William Shakespeare Script based upon the

1
Romeo and Juliet
By William Shakespeare
Script based upon the
Cambridge School Edition
Edited by Rex Gibson
Director, Shakespeare and Schools Project
Cambridge University Press 1984
Additional Stage Directions and Editing by
Mr. Steven L. Denlinger
The Cast of the Play
CLOWN/FRIAR
MARIAN (Friar's Altar Girl)
JULIET
MARIA (Juliet's AIDE)
LORD CAPULET
SAMPSON (Lord Capulet's AIDE)
GREGORY (Lord Capulet's AIDE)
LADY CAPULET
KATHRYN (Lady Capulet's AIDE)
TYBALT
MARC (Tybalt's AIDE)
ANGELICA, THE NURSE
ROMEO
BALTHASAR
(Romeo's AIDE)
LORD MONTAGUE
MATTHEW (Lord Montague's AIDE)
LADY MONTAGUE
KRISTENA (Lady Montague's AIDE)
BENVOLIO
MAYOR ESCALES
ERIN (Mayor Escales' AIDE)
BRIAN (Mayor's Secret Service)
BYRON (Mayor's Secret Service)
MERCUTIO
DANIEL (Mercutio's AIDE)
Krista Damico
Amanda Haidet
Kelly Hanlon
Lauren Fuhrig
Matt Kiel
Andrew Roush
Kyle Rinehart
Lydia Flick
Mandy Aquino
Steve Ridgway
Jared Wile
Emily Gurney
Kendrick Strauch
Ted Leaf
Matt David
Mike Langford
Jaclyn Evans
Lindsay Sabol
Mark Brandau
Justin Kam
Sonya Ives
Rob Reeves
David Wright
Nick Wardle
Matt Wolford
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PARIS
JOHN (Paris' AIDE)
MABEL, THE APOCATHARY
JOSEPH, POLICE CAPTAIN
AMANDA, FIRST POLICEWOMAN
SUSAN, SECOND POLICEWOMAN
RIOT POLICE FORCE
Stephanie Hasapis*
Kate Thorn*
Leslie Curtis
Angie Denchik
Jessica Morrison
Lindsay Sabol
Brett Stahura
Matt McLaughlin
Sam Bourn
Brendon Swaffield
Stephanie Hasapis*
Kate Thorn*
Joanna Grubbs
Jennie Coy
Tracy Jeffcott
QUEEN MAB DANCERS
Shannon Howard
Catherine Strawn
Ashley Grasse
Christine Foust
Jaclyn Evans
DEBUTANTES
Laura Evans
Sarah Walters
Jennie Coy
Tessa Hannon
Amanda Haidet
Megan O'Brian
Stacey Josif
Lindsay Drake
Brittany Bayer
The Cast of the News Broadcast
CLO BECKETT
BEN VOGEL
PERRY THOMPSON
TOBY STRUTHERS
ALAN MONTAGE
TY JOHNSON
CASPAR STEPTCO
DR. STEPHANIE LAWRENCE
MARY CASSIA
JOE DOUGHERTY
Jaclyn Evans
Mark Brandau
Brett Stahura
Nick Wardle
Matt David
Steve Ridgway
Matt Kiel
Krista Damico
Lydia Flick
Brendon Swaffield
The Show's Directing Team
DIRECTOR/PRODUCER:
ASSISTANT DIRECTOR & BAND LEADER:
SET DESIGNER:
STAGE CARPENTER:
CHOREOGRAPHER:
TECHNICAL DIRECTOR:
Mr. Steven L. Denlinger
Mrs. Kimberley Melin
Mr. Skip Barran
Mr. Wayne Harrison
Miss Rachel Evans
Miss Amy Wagner
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FIGHT DIRECTOR:
STAGE MANAGER:
CHIEF DRAMATURG:
DRAMATURGS:
VIDEO DIRECTOR:
Mr. David Thomas
Amanda Swinehart
Hannah Tidman
Eri Hashimoto
Samantha Bourn
Miss Jennifer Milnes
Description of Characters
The Clown: In addition to playing the role of the CHORUS and the
SINGER, the
CLOWN will also play the FRIAR. She clearly
controls all the action. She must be able
to move well, mime strong expressions, and sing a
range of musical styles. Dramatic experience
is needed for this role-more than any other-since
the actress must also be able to play a man's
character. She also sings a wide range of styles,
using the passion and look of a rock singer.
FRIAR LAWRENCE is a young friar who has just
been assigned to the city of Verona-he has just
graduated from Notre Dame and has strong liberal
ideals. He has entered his branch of the
religious order because he thinks that he can make
a difference in the lives of the young
people of the Verona parish. ROMEO has become
close to the FRIAR because he is fascinated by
the FRIAR'S strong beliefs and ethics. A
vegetarian, FRIAR LAWRENCE is also fascinated by
herbs and natural methods of healing. Played by
the female CLOWN, the FRIAR will be signified
by a simple robe that will be placed on her by her
altar girl whenever she steps into his role.
MARIAN appears with a brown robe whenever the
rock singer changes into the role of the FRIAR;
she also assists in all religious rites.
JULIET is a Capulet and plays the leading
female ingenue role. She is 14 years old and must
be able to show great extremes of dramatic emotionshe must be able to both hate and love with
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equal passion.
MARIA is JULIET'S servant. She dresses JULIET
and is her maid.
LORD CAPULET is JULIET'S father and he operates
much like a Mafia Don. He always gets his way.
He, like JULIET, is also capable of great extremes
of emotion.
LORD CAPULET and JULIET love
each other absolutely, but that love is expressed
deeply both in anger and affection. LORD
CAPULET is also tired of the feud and ready to set
it aside, but he must deal with TYBALT.
LADY CAPULET is a woman who has experienced
little but pain in her lifetime. She loves her
family deeply, but she is embittered by
circumstances. Due to medical complications, she
has
only been unable to have more than one child,
JULIET. She is overwhelmed by her powerful
husband, but she constantly struggles between
submitting and fighting back.
KATHRYN is LADY CAPULET'S personal AIDE and
usually attends LADY CAPULET.
TYBALT is JULIET'S older cousin. He is cocky,
almost evil in a fascinating way.
He is obsessed with promoting the feud between the
two families. He has told exciting familyfeud stories to JULIET for years, and her ideas of
the family feud come from him. Had it not
been for TYBALT, the feud would have been settled
peacefully.
MARC is TYBALT'S AIDE and attends him.
ANGELICA, THE NURSE is JULIET'S nanny and
confidante. She is not overly bright. She talks
constantly-most of her conversation in public is
silly and senseless. Underneath her exterior,
however, beats a heart that adores JULIET and would
do anything to make her happy.
SAMPSON is a servant to the Capulet family and
he has a very witty sense of humor. He makes
people laugh by merely looking at them.
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GREGORY is another servant to the Capulets; he
hangs out with SAMPSON constantly. The two
are sidekicks, and when they are onstage together,
the audience will be in tears of laughter.
ROMEO is 16 years old. He is very moody and is
especially attracted to things (and women)
that he can't have very easily. He's a rebel and
doesn't get along with his parents. In fact,
they never have a single exchange of conversation
onstage. He both loves and hates with equal
passion.
BALTHASAR usually attends ROMEO when he is
onstage.
LORD MONTAGUE is another powerful figure in
town. Anxious to put the feud behind him, he would
also like to get to know his son, but he doesn't
know how. He is too busy running his family's
gigantic Wall Street empire.
MATTHEW attends LORD MONTAGUE whenever he is on
stage.
LADY MONTAGUE is a woman who cannot understand
her son at all. She loves him deeply, but she
simply doesn't know how to reach him. She has also
lost three other sons to the family feud.
KRISTENA attends LADY MONTAGUE whenever she is
onstage.
BENVOLIO is a responsible young man who
communicates well with adults and loves women-all
of
them. He is ROMEO'S best friend, but he doesn't
understand ROMEO'S tendency to choose one and
obsess about her.
MAYOR ESCALES is the mayor of Verona, New
York. He has higher political aims, but he is very
frustrated by the problems of law and order within
his own city.
ERIN is the MAYOR'S Chief of Staff and always
appears with him, managing him and his schedule,
holding his papers, getting him anything he needs.
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BRIAN is one of the MAYOR'S bodyguards who
always appears with him. He protects him-similar
to the Secret Service.
BYRON is the second of the MAYOR'S bodyguards
who always appears with him. He protects himsimilar to the Secret Service.
MERCUTIO is one of the MAYOR'S nephews. He is
extremely witty and sarcastic, and he is also
very funny. He knows the way the MAYOR regards
the social issues of the day, and he doesn't
take him very seriously. He knows that he won't be
executed-no matter what he does-since he is
the Mayor's nephew, so he doesn't worry too much
about any laws.
DANIEL is MERCUTIO'S AIDE and always appears
with him.
PARIS is another, older nephew of the MAYOR'S23 years old. He is not at all funny. He is
also very responsible and is really too old for
JULIET. However, his family needs the financial
resources of the Capulet family; in fact, his
uncle THE MAYOR has promised PARIS a new position
in city government if he can "snag" JULIET.
JOHN is PARIS' AIDE, who has been assigned to
him by the MAYOR'S office. He is fairly new at
the job.
MABEL THE APOTHECARY is a young woman who is
having a hard time making a living and has
taken to dealing in both legal and illegal
substances to help herself survive.
JOSEPH is the CAPTAIN of the RIOT POLICE FORCE.
AMANDA is the first POLICEWOMAN on the RIOT
POLICE FORCE.
SUSAN is the second POLICEWOMAN on the RIOT
POLICE FORCE.
THE RIOT POLICE FORCE is an Israeli-type squad
of seven officers, a first lieutenant, a
second lieutenant, and a male captain who are
trained specifically for riot and crisis
situations.
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These individuals will be trained by an former army
officer to work as a tight and believable
team-they will possibly go through some sort of
boot-camp experience during their training
rehearsals.
THE BAND stays on the MUSICIANS' PLATFORM
during the entire show. It accompanies up the
CLOWN during the songs she performs and underscores
other scenes. The BAND is involved in some
of the action, so they will also act. The BAND
includes strings, drums, keyboard synthesizer,
and bass guitar. The players in the BAND will be
primarily post-high school musicians.
THE TOWNSPEOPLE are played by the DEBUTANTES,
QUEEN MAB DANCERS and their ESCORTS. Most of
the townspeople hang out in cafés, playing cards or
musical instruments, drinking coffee and
gossiping about what is happening to the two
leading families.
THE MEDIA is the group of eight people who will
control what we see on the large screens on
the right and the left of the stage: a DIRECTOR and
a TECHNICIAN on a platform in front of the
control booth, TWO CAMERAMEN in the two scaffolding
towers on stage, TWO CAMERAMEN roaming the
auditorium floors, and TWO CAMERAMEN in the
balcony-one beside each of the spots. The play is
set in Verona, New York, and Mantua, New York,
seven years from now, and begins on
July 12, 2005 A.D.
As the AUDIENCE enters the AUDITORIUM, they are greeted
by the sight of a stage
covered by a scrim. The main curtain has been eliminated
throughout the play. On the sides,
there are black legs, with teasers and tormentors. At the
very back is a cyclorama on which
lights play.
At the back of the MAIN STAGE, directly in front of the
cyclorama, is the Musicians'
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Platform, 12 foot wide, 8 foot deep, and built six feet off
the ground. On it sits the BAND,
warming up. It is composed of players who play a keyboard
synthesizer, strings, bass guitar,
drums, and a wind instrument-probably a saxophone or a
flute.
Below the platform is an empty space, framed by three
square pillars. Steps lead down to
the stage on each side, where the musicians will enter and
depart. Directly in front of the
Musicians' platform is a grand piano. Safety rails three
feet off the ground line all platforms.
On each side of the Musicians' Platform are two
platforms, angling upstage in random
directions. Each platform is 6X6 feet wide. Two of the
four platforms are built two feet
above the stage; two are built four feet above the stage.
Each platform six steps, six foot
wide, and one foot deep in size.
Coming out of the MAIN STAGE, and surrounding and
covering the orchestra pit, is a Ramp,
which comes out about eight feet at a 45% angle. The pit
is covered. A fountain with a statue
and tinkling water sits stage center above the pit.
Coming directly out of the Ramp, at a right angle to
the stage, is a thrust stage, extending
twenty feet deep into the AUDIENCE, at the level of the
seats, eight feet wide.
On the right and left side of the AUDITORIUM are two
miniature stages-henceforth called the
Right Extension (stage right) and the Left Extension (stage
left). Each Extension is a twelve
by twelve foot triangle just above the level of the seats.
Steps lead up to each Extension from
the front aisles, and another set of steps leads up to the
Ramp from the front aisles on each
side as well, allowing actors to move up and down between
the two stages. NOTHING MUST BLOCK
THE AISLES. This gives the stage its different levels,
which are a primary aspect of the
blocking of this play.
On the Right Extension (stage right), we see a wooden
balcony, 4 X 8 foot, located six feet
above the stage and almost parallel to the AUDIENCE-but
angling in toward the MAIN STAGE. The
balcony has railings three feet high. A three-foot wide
set of steps runs along the balcony,
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going down toward the MAIN STAGE. In front of the balcony
steps sits a wooden park-type bench.
On the Left Extension (stage left), we see another
balcony, this time with a ladder leading
up to it. Above the balcony, leading up to the catwalk
above, is a rope ladder. Under the
balcony is a doorway with a curtain covering. On the
balcony of the Left Extension we see plants,
flowers, and trees-all portable, so as to be easily removed
later. A garden bench is sitting
in front of the door, open and at an angle to the AUDIENCE.
On each side of the stage, attached to the walls, is a
large-screen television. At the
edges of the stage, at eye level to the lower level of the
auditorium, are smaller televisionsthese are henceforth called SCREENS. On each SCREEN is the
motif for the set, a black and white
checkerboard, faintly etched, with the title Romeo and
Juliet running at a 45% angle across the
checkerboard motif.
In order to understand the role of the screens, one can
visualize a large sports or political
arena, with large screens used to enhance the vision of
the crowd. The SCREENS have a live feed
that will run throughout the show.
In control of the SCREENS is a director and a crew of
six cameramen. The Director or
Producer-probably provided by a local television stationwill control what appears on each of
the SCREENS from a spot directly in front of the balcony,
where he sits with his Technical
Director.
At the back of the stage are cameramen-one on each side
of the stage-on scaffolding platforms
ten feet above the stage. In addition, there are two
cameramen on the floor-one on each side
of the thrust stage. They move freely during the entire
show. Beside each of the spotlights on
the right and left side of the rear balconies, is another
cameraman.
Throughout the show, the
director decides what shots are flashed on each of the
screens. Almost always, they will use
close-ups, and the screens help manipulate the audience's
attention.
The SCREENS will also be used to help the audience
understand what is happening onstage-for
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example, during the scene where the FRIAR discovers that
the letter hasn't arrived in Mantua,
we will see the Mailer-Daemon's email come up on the
screen, with the mouse clicking on it.
As a general rule, throughout the play, all close
sword-fighting will be stylistic. This is
primarily for artistic effect, although it will also allow
inexperienced sword fighters a safety
margin.
Prologue
[After the AUDIENCE is seated, the lights are lowered to
half, and normal announcements begin.
During announcements, the house lights dim to complete
blackness, except for the glow of the
musicians' lights.
In the darkness, we hear the BAND play the first few
strains of Alanis Morrisette's song,
"Uninvited."
Suddenly the SCREENS go from the
checkerboard motif to the face of CLO BECKETT,
who also plays the role of the CLOWN. Each of the
characters within the broadcast can also be
seen within the play itself. Both names and titles will be
superimposed on the screen, flush
left, below their faces.
We have caught a news analysis, and on the broadcast,
we see a news anchor in the studio.
NOTE: This is the only part of the show that is
prerecorded and NOT a live feed.]
CLO BECKETT
News Anchor, Verona, New York
July 4, 2005-a day to celebrate independence. A day to
appreciate freedom. But a day of bitter
irony for Sean Miller in Mansfield, Ohio. Last night, the
Supreme Court gave the Mansfield
Prison the green light to execute the sixteen-year-old
Miller for the series of murders he
committed at the age of thirteen. He will die at noon.
It isn't the only controversy they've tried to settle.
In a parallel decision aimed at
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stopping the rising tide of teen violence, the Court has
sanctioned today the use of martial
law and immediate executions by riot police forces under
"extreme cases in which public safety
is threatened." It has also approved the new President's
"fast track appeals system," a judicial
device that will eliminate the clunky appeals process,
which has sometimes stayed the execution
of death-row convicts for decades.
Faced with murders, massacres, and serial killings
committed by teens, and a justice system
that seems to be spinning out of control-Americans all over
the nation today reacted to the
Court's decision.
CUT TO
BEN VOGEL
High school sophomore, Akron, Ohio
It's about time. I feel safer, especially since they
installed the metal detectors at school.
Why put up with it? Now kids see they can be shot without warning, they'll think twice
about
using weapons.
CUT TO
PERRY THOMPSON
ACLU spokesman, Washington, D.C.
He's not even legally an adult yet. I know we want swift justice, but restrict our right to a
trial by jury? What is this-the wild West?
CUT TO
TOBY STRUTHERS
College junior, Tulsa, Oklahoma
[Smiles at the camera ironically.] Fry him. He deserved it. Last year when that guy
down the street shot someone, he got away with it scot-free. Now, you kill someone-you
die.
CUT TO
ALAN MONTAGE
Democratic Minority Leader, US Senate
How does killing people stop other people from killing? Like always, our Republican
majority leaders resort to barbarianism. Congress has to find a better solution to this
issue, or the violence will only continue.
CUT TO
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TY JOHNSON
High school senior, LaJolla, California
[Pulls out sword and goes to fencing stance.] Everyone's got 'em. [Slashes sword
through the air.] Kids signing up in droves here at Martial Arts school in LaJolla. Great
form of defense. [Puts his sword back in sheath.] ME? [Laughs.] No, I won't kill
anyone. But nobody better try messin' with me.
CUT TO
CASPER STEPTCO
Republican, Speaker, US House of Representatives
I'm grateful to the efforts of the Party, along with our President, that moved this bill
through Congress and the Court so rapidly. The Republican Party isn't going to let these
kids get away with violence. Today's stamp of approval by the Court only underscores
the seriousness we take toward these teen hoodlums. We will bring peace to our land.
CUT TO
DR. STEPHANIE LAWRENCE
Professor of Sociology, Harvard University
In the late sixties, the government used social programs as an alternative to punitive
methods. Then in the '80s and '90s, Justice grew pragmatic. Today, at the dawn of a new
century, the prison system has literally become an indispensable part of Big Business. A
major part of our economy comes from jobs linked to law enforcement-locking up
criminals and housing them.
When will we accept the fact that execution only breeds more violence? How do we
teach people not to kill by killing them? Worse yet, what do these new laws say about
our society? Not since the time of Shakespeare have Westerners embraced the execution
of minors so enthusiastically.
CUT TO
MARY CASSIA
English teacher, Johnstown, Pennsylvania
Kids don't think consequentially. They act impulsively. They fall in love-they get
pregnant. They get mad-they kill someone. The death penalty might make them think
before committing such abhorrent crimes. But how can we be sure?
For example, in the '90s, sex education did little to stop the spread of AIDS and high
percentages of teen pregnancy.
CUT TO
JOE DOUGHERTY
Police Chief, New York City
I'm sick of putting myself in danger, day after day after day. The Court has finally put
some teeth into the law. Why should kids get away with murder? You want to play with
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death? Now you'll pay with your life-on the spot. Now that I'm allowed to "administer
swift justice to violent offenders by killing them outright," I feel a lot safer. This will
make our streets good for children to play on once again-you wait and see.
FADE TO
CLO BECKETT
News Anchor, Channel 8, Verona, New York
Teen violence can only be described as a national epidemic-one
that perhaps calls for desperate solutions. And the Court's decision has given the long
arm of the law what many consider the ultimate shot in the arm.Only time will tell
whether the use of martial law and a quicker death penalty will act as a life-saving
immunity shot, or create a rampant, new infection of violence.
CUT TO
DR. STEPHANIE LAWRENCE
Professor of Sociology, Harvard University
I can't believe barbaric execution and martial law are the only options we had left. Surely
there's another way to bring peace? Whatever happened to love?
CLO BECKETT
News Anchor
This is Clo Beckett for Channel 8, Verona, New York.
Act I
Scene 1
Setting: Café Verona.
Time: July 12, 2005, Sunday, late morning
The SCREENS go to black, and in the darkness, we once more we hear the
music begin for "Uninvited." We hear a female performer begin to sing, and
as the second verse begins, the lights come up slowly on a tableau of people
who are sitting in little cafés all over the stage. They are frozen in the midst
of performing a variety of activities-reading, playing card games, drinking
coffee, and talking.
On a scaffolding platform at the extreme upstage center, in front of the
BAND at the piano, is a rock singer-THE CLOWN (whom we last saw as
DR. STEPHANIE LAWRENCE). THE CLOWN is dressed in a very simple
black dance costume-a one-piece outfit, or a tee shirt and leggings-which
will provide the base for other costumes. Her hairstyle gives her an
androgynous look. She wears a microphone headset. THE CLOWN's
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actions indicate extreme passion, and her mood epitomizes the sadness, love,
and sorrow found in this play. The BAND accompanies her. The music
needs to be loud, powerful and moving.
At the end of the song, in complete silence, THE CLOWN looks at the
audience, then moves downstage, looking curiously in the faces of the frozen
people around her. She tries to bring some of them to life, and she fails.
She ends up downstage center on the thrust stage at the end of the song and
speaks the following lines. As THE CLOWN speaks, the formal words play
in stark contrast to the modern world on the stage.]
CLOWN
Two households, both alike in dignity.
In fair Verona, where we lay our scene.
From ancient grudge break to new mutiny.
Where civil blood makes civil hands unclean.
[The café behind her suddenly unfreezes. As SAMPSON and GREGORY enter upstage
left, the CLOWN moves upstage right, watching them all the way. No one shows any
recognition of the CLOWN.]
SAMPSON
I strike quickly, being moved.
GREGORY
But thou art not quickly moved to strike.
SAMPSON
A dog of the house of Montague moves me.
GREGORY
To move is to stir, and to be valiant is to stand: therefore, if thou art moved thou runn'st
away.
SAMPSON
A dog of that house shall move me to stand: I will take the wall of any man or maid of
Montague's.
GREGORY
That shows thee a weak slave, for the weakest goes to the wall.
SAMPSON
'Tis true, and therefore women being the weaker vessels are ever thrust to the wall;
therefore I will push Montague's men from
the wall, and thrust his maids to the wall.
GREGORY
The quarrel is between our masters, and us their men.
SAMPSON
'Tis all one, I will show myself a tyrant: when I have fought with the men, I will be civil
to
the maids; I will cut off their heads.
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GREGORY
The heads of the maids?
SAMPSON
Aye, the heads of the maids, or their maidenheads, take it in what sense thou wilt.
GREGORY
Thou must take it in sense that feel it.
SAMPSON
Me they shall feel while I am able to
stand, and 'tis known I am a pretty piece of flesh.
GREGORY
[Enter BALTHASAR.]
Draw thy tool, here comes one of the house of Montagues.
SAMPSON
My naked weapon is out. Quarrel, I will back thee.
GREGORY
How, turn thy back and run?
SAMPSON
Fear me not.
GREGORY
No, marry, I fear thee!
SAMPSON
Let us take the law of our sides, let them begin.
GREGORY
I will frown as I pass by, and let them take it as they list.
SAMPSON
Nay, as they dare, I will bite my thumb at them, which is disgrace to them if they bear it.
BALTHASAR
Do you bite your thumb at us, sir?
SAMPSON
I do bite my thumb, sir.
BALTHASAR
Do you bite your thumb at us, sir?
SAMPSON
[Aside to GREGORY]
Is the law of our side if I say aye?
GREGORY
[aside to SAMPSON]
No.
SAMPSON
No, sir, I do not bite my thumb at you, sir, but I bite my thumb, sir.
GREGORY
Do you quarrel, sir?
BALTHASAR
Quarrel, sir? No, sir.
SAMPSON
But if you do, sir, I am for you. I serve as good a man as you.
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BALTHASAR
No better.
SAMPSON
Well, sir.
GREGORY
[Aside to SAMPSON]
Say 'better,' here comes one of my master's kinsmen.
SAMPSON
Yes, better, sir.
BALTHASAR
You lie.
SAMPSON
Draw, if you be men.
[They fight with swords.]
BENVOLIO
[Enter BENVOLIO]
Part, fools.
Put up your swords, you know not what you do.
[Beats down their swords. Enter TYBALT with MARC, his AIDE.]
TYBALT
What, art thou drawn among these heartless hinds?
Turn thee, Benvolio, and look upon thy death.
BENVOLIO
I do but keep the peace. Put up thy sword,
Or manage it to part these men with me.
TYBALT
What, drawn and talk of peace? I hate the word,
As I hate hell, all Montagues, and thee.
Have at thee, coward.
[Music begins-with drums predominant. At the first sound of music, people at the café
tables all over the stage stand and turn,and the AUDIENCE suddenly realizes that
everyone is armed . . . both with swords and handguns. They join
in as TYBALTand BENVOLIO begin fighting with swords. The crowded café follows their
lead, and the fight becomes confusing andoverwhelming. Shouts are heard.]
CAFÉ CROWD
Capulets! Montagues! Down with the Montagues! Down with the Capulets! Strike
them! Beat them down!
[Suddenly LORD CAPULET enters stage right and LORD MONTAGUE enters stage
left with wives and servants.]
LORD CAPULET
What noise is this? Give me my long sword, ho!
LADY CAPULET
A crutch, a crutch! Why call you for a sword?
LORD CAPULET
My sword, I say! old Montague is come,
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And flourishes his blade in spite of me.
LORD MONTAGUE
[Enters with MATTHEW and his wife, LADY MONTAGUE.]
Thou villain Capulet! -Hold me not, let me go.
LADY MONTAGUE
Thou shalt not stir one foot to seek a foe.
[Suddenly, police sirens begin wailing in the distance, getting closer. Suddenly, a squad
of POLICE OFFICERS appear-in black and white riot uniforms, holding riot shields in
front of them. The CAPTAIN speaks with a megaphone.]
POLICE CAPTAIN
Strike! Beat them down!
[The police move in and surround the action, presenting a wall on the upstage, stage right
and stage left sides, then use clubs and tear gas to take control. Music increases in
intensity. In the midst of the tear gas and smoke, we hear the sound of MAYOR
ESCALES' helicopter. The MAYOR appears at the top of one of the platforms,
BODYGUARDS beside him.]
MAYOR
Rebellious subjects, enemies to peace,
Throw your mistempered weapons to the ground,
[Music stops, with the clanging of weapons dropping,
and the CROWD goes silent. The ladies move up beside their husbands, crying as they
kneel beside the wounded.]
And hear the sentence of your moved Mayor.
Three civil brawls, bred of an airy word,
By thee, old Capulet, and Montague,
Have thrice disturbed the quiet of our streets,
If ever you disturb our streets again,
Your lives shall pay the forfeit of the peace.
For this time all the rest depart away:
You, Capulet, shall go along with me,
And, Montague, come you this afternoon.
Once more, on pain of death, all men depart.
[The MAYOR exits with his BODYGUARDS and the POLICE CAPTAIN follows. Some
POLICE OFFICERS remain, standing guard. Ambulance sirens are heard distantly, and
medics appear to help those who are wounded, moving everyone offstage.This happens
underneath the following conversation among LORD MONTAGUE, LADY
MONTAGUE, and BENVOLIO, who move downstage on the THRUST.]
LADY MONTAGUE
O where is Romeo? Saw you him today?
Right glad I am he was not at this fray.
BENVOLIO
Madam, an hour before the worshipped sun
Peered forth the golden window of the east,
A troubled mind drove me to walk abroad,
Where underneath the grove of sycamore,
So early walking did I see your son;
18
Towards him I made, but he was ware of me,
And stole into the covert of the wood.
LORD MONTAGUE
Many a morning hath he there been seen.
With tears augmenting the fresh morning's dew,
Adding to clouds more clouds with his deep sighs,
But all so soon as the all-cheering sun
Should in the farthest east begin to draw
The shady curtains from Aurora's bed,
Away from light steals home my heavy son,
And private in his chamber pens himself.
Shuts up his windows, locks fair daylight out,
And makes himself an artificial night.
BENVOLIO
My noble uncle, do you know the cause?
LORD MONTAGUE
I neither know it, nor can learn of him.
BENVOLIO
Have you importuned him by any means?
LORD MONTAGUE
Both by myself and many other friends.
MATTHEW
But he, his own affections' counsellor,
Is to himself (I will not say how true)
But to himself so secret and so close,
So far from sounding and discovery.
LORD MONTAGUE
Could we but learn from whence his sorrows grow,
We would as willingly give cure as know.
[Enter Romeo]
BENVOLIO
See where he comes. So please you, step aside,
I'll know his grievance or be much denied.
LORD MONTAGUE
Come, Madam, let's away.
[Exit LORD and LADY MONTAGUE]
BENVOLIO
Good morrow, cousin.
ROMEO
Is the day so young?
BENVOLIO
But new struck nine.
ROMEO
Aye me, sad hours seem long.
Was that my father that went hence so fast?
19
BENVOLIO
It was. What sadness lengthens Romeo's hours?
ROMEO
Not having that, which having, makes them short.
BENVOLIO
In love?
ROMEO
OutBENVOLIO
Of love?
ROMEO
Out of her favor where I am in love.
BENVOLIO
Alas that Love, so gentle in his view,
Should be so tyrannous and rough in proof!
ROMEO
Alas that Love, whose view is muffled still,
Should, without eyes, see pathways to his will!
Where shall we dine?
[Turns and sees AIDES cleaning up tables and straightening chairs.]
O me! What fray was here?
Yet tell me not, for I have heard it all:
Here's much to do with hate, but more with love.
Why then, O brawling love, O loving hate,
O any thing of nothing first create!
O heavy lightness, serious vanity,
Misshapen chaos of well-seeming forms,
Feather of lead, bright smoke, cold fire, sick health,
Still waking sleep, that is not what it is!
This love feel I, that feel no love in this.
Farewell, my coz.
BENVOLIO
Soft, I will go along;
And if you leave me so, you do me wrong.
ROMEO
Tut, I have lost myself, I am not here,
This is not Romeo, he's some other where.
BENVOLIO
Tell me in sadness, who is that you love?
ROMEO
In sadness, cousin, I do love a woman.
BENVOLIO
I aimed so near, when I supposed you loved.
ROMEO
A right good mark-man! And she's fair I love
BENVOLIO
20
A right fair mark, fair coz, is soonest hit.
ROMEO
Well, in that hit you miss; she'll not be hit
With Cupid's arrow,
From Love's weak childish bow she lives uncharmed.
She hath forsworn to love, and in that vow
Do I live dead, that live to tell it now.
BENVOLIO
Be ruled by me, forget to think of her.
ROMEO
O teach me how I should forget to think.
[Lights dim on BENVOLIO and ROMEO and they exit upstage left as BENVOLIO
speaks the following lines.]
BENVOLIO
By giving liberty unto thine eyes,
Examine other beauties.
Act I
Scene 2
Setting: The Capulet foyer
Time: Sunday, early afternoon
[Lights come up on Stage Right Extension, where LORD CAPULET and PARIS are
smoking cigars and talking beside the steps up to Juliet's balcony.]
LORD CAPULET
But Montague is bound as well as I,
In penalty alike, and 'tis not so hard, I think,
For men so old as we to keep the peace.
PARIS
Of honorable reckoning are you both,
And pity 'tis, you lived at odds so long.
But now, my lord, what say you to my suit?
LORD CAPULET
But saying o'er what I have said before:
My child is yet a stranger in the world,
She hath not seen the change of fourteen years;
Let two more summers wither in their pride,
Ere we may think her ripe to be a bride.
[LORD CAPULET crosses down the steps and up to the RAMP, while PARIS follows.]
PARIS
Younger than she are happy mothers made.
LORD CAPULET
[Stops and turns to PARIS.]
And too soon marred are those so early made.
21
The earth hath swallowed all my hopes but she;
She is the hopeful lady of my earth.
But woo her, gentle Paris, get her heart,
My will to her consent is but a part.
This night I hold an old accustomed feast,
Whereto I have invited many a guest,
Such as I love, and you among the store,
One more, most welcome, makes my number more.
At my poor house look to behold this night
Earth-treading stars that make dark heaven light.
Hear all, all see;
And like her most whose merit most shall be.
Come go with me.
[SAMPSON enters and is crossing downstage left on business. LORD CAPULET stops
him and gives him instructions.]
Sirrah, go trudge about
Through fair Verona, find those persons out
Whose names are written there,
[gives him a paper]
and to them say,
My house and welcome on their pleasure stay.
[LORD CAPULET exits with PARIS upstage left. SAMPSON stays behind.]
SAMPSON
Find them out whose names are written here! It is written that the shoemaker should
meddle with his yard and the tailor with his last, the fisher with his pencil and the painter
with his nets; but I am sent to find those persons whose names are here writ, and can
never find what names the writing person hath here writ. I must to the learned. In good
time!
[SAMPSON sees BENVOLIO and ROMEO enter from the back of the AUDITORIUM.
They are still talking as before.]
BENVOLIO
Tut, man, one fire burns out another's burning,
One pain is lessened by another's anguish;
Take thou some new infection to thy eye,
And the rank poison of the old will die.
ROMEO
Your plantain leaf is excellent for that.
BENVOLIO
For what, I pray thee?
ROMEO
[ROMEO kicks BENVOLIO.]
For your broken shin.
BENVOLIO
Why Romeo, art thou mad?
22
ROMEO
Not mad, but bound more than a madman is:
Shut up in prison, kept without my food,
Whipt and tormented, and[As they move up the steps to the ramp, ROMEO suddenly spots SAMPSON, who is
watching them.]
Good day, good fellow.
SAMPSON
God give good day. I pray, sir, can you read?
ROMEO
Aye, mine own fortune in my misery.
SAMPSON
But, I pray, can you read any thing you see?
ROMEO
Aye, if I know the letters and language.
SAMPSON
Ye say honestly, farewell.
ROMEO
Stay, fellow, I can read.
[Reads letter as SAMPSON obviously tries to memorize.]
'Signior Martino and his wife and daughters,
County Anselme and his beauteous sisters,
The lady widow of Vitruvio,
Signior Placentio and his lovely nieces,
Mercutio and his brother Valentine,
Mine uncle Capulet, his wife and daughters,
My fair niece Rosaline, and Livia,
Signior Valentio and his cousin Tybalt,
Lucio and the lively Helena.'
A fair assembly; whither should they come?
SAMPSON
Up.
ROMEO
Whither? To supper?
SAMPSON
To our house.
ROMEO
Whose house?
SAMPSON
My master's.
ROMEO
Indeed I should have asked thee that before.
SAMPSON
Now I'll tell you without asking. My master is the great rich Capulet, and if you be not of
the house of Montagues, I pray come and crush a cup of wine. Rest you merry.
23
[SAMPSON wanders up the aisle, to the back of the AUDITORIUM and out the door,
trying to read the letter upside down.]
BENVOLIO
[Teasing]
At this same ancient feast of Capulet's
Sups the fair Rosaline whom thou so loves,
With all the admired beauties of Verona:
Go thither, and with unattainted eye
Compare her face with some that I shall show,
And I will make thee think thy swan a crow.
ROMEO
One fairer than my love! The all-seeing sun
Ne'er saw her match since first the world begun.
BENVOLIO
Tut, you saw her fair, none else being by,
Herself poised with herself in either eye;
But in that crystal scales let there be weighed
Your lady's love against some other maid
That I will show you shining at this feast,
And she shall scant show well that now seems best.
[Lights dim on ROMEO and BENVOLIO as theyexit upstage left while speaking.]
ROMEO
I'll go along no such sight to be shown,
But to rejoice in splendor of mine own.
Act I
Scene 3
Setting: A room inside the Capulet mansion
Time: Sunday, early evening
[As lights dim down on ROMEO and BENVOLIO, lights come up on the STAGE RIGHT
EXTENSION, revealing a makeup table with a mirror, where LADY CAPULET and THE
NURSE are preparing LADY CAPULET for the evening's festivities. LADY CAPULET is
almost finished doing her makeup and the NURSE is assisting her in putting on her
jewelry.]
LADY CAPULET
Nurse, where's my daughter? Call her forth to me.
24
NURSE
Now by my maidenhead at twelve year old,
I bade her come.
[NURSE turns and calls upstage.]
What, lamb! What, ladybird!
God forbid, where's this girl! What, Juliet!
[We hear strains of music as a solitary light picks up JULIET as she appears on the steps
of an upstage platform, stage left. She is adjusting her hair. The light picks up the white
of her slip-she is still getting ready for the party, and she is followed by MARIA who is
carrying her dress. The white contrasts with the black behind her. JULIET is barefoot.]
JULIET
How now, who calls?
MARIA
Your mother.
[JULIET runs down the steps, across to the STAGE RIGHT EXTENSION, and throws
herself into her NURSE'S arms, then turns away from the NURSE to her mother and
curtsies. MARIA follows, doing the same thing. There is a warmth between the NURSE
and JULIET that JULIET does not share with her mother, LADY CAPULET. She treats
her mother very politely.]
JULIET
Madam, I am here, what is your will?
LADY CAPULET
[Nods to both the NURSE and MARIA]
This is the matter. Give leave awhile,
We must talk in secret.
[They both leave reluctantly. LADY CAPULET suddenly realizes she is going to be alone
with her daughter, and calls them back.]
Come back again.
I have remembered me-hear our counsel.
[Both MARIA and the NURSE come back, eager to hear the gossip.]
Thou know'st my daughter's of a pretty age.
[MARIA moves forward and continues dressing JULIET, who is far more interested in
hearing what is going on between LADY CAPULET and the NURSE.]
NURSE
Faith, I can tell her age unto an hour.
LADY CAPULET
She's not fourteen.
NURSE
I'll lay fourteen of my teethAnd yet to my teen be it spoken, I have but fourShe's not fourteen. How long is it now
To the first of August?
MARIA
A fortnight and odd days.
NURSE
Even or odd, of all days in the year,
25
Come August first at night shall she be fourteen.
Susan and she-God rest all Christian souls! [NURSE shows polite sadness, crosses herself as she speaks.]
Were of an age. Well, Susan is with God,
She was too good for me. But as I said,
On August first at night shall she be fourteen,
That shall she, marry, I remember it well.
My lord and you were then at Mantua
Nay, I do bear a brain-but as I said,
And since that time it is eleven years,
For then she could stand high-lone; Nay, by the Cross,
She could have run and waddled all about,
For even the day before she broke her brow,
And then my husband-God be with his soul,
He was a merry man-took up the child.
"Yea," quoth he, "dost thou fall upon thy face?
Thou wilt fall backward when thou hast more wit,
Wilt thou not, Jule?" And by my holiness,
The pretty wretch left crying, and said "Aye."
LADY CAPULET
Enough of this, I pray thee hold thy peace,
Peace, I have done. God mark thee to his grace,
Thou wast the prettiest babe that e'er I nursed.
And I might live to see thee married once,
I have my wish.
LADY CAPULET
Marry, that marry is the very theme
I came to talk of. Tell me, daughter Juliet,
How stands your disposition to be married?
JULIET
It is an honor that I dream not of.
MARIA
An honor!
NURSE
Were not I thine only nurse,
I would say thou hadst sucked wisdom from thy teat.
LADY CAPULET
Well, think of marriage now;
The valiant Paris seeks you for his love.
NURSE
A man, young lady! Lady, such a man
As all the world.
MARIA
Why, he's a man of wax.
LADY CAPULET
Verona's summer hath not such a flower.
26
NURSE
Nay, he's a flower.
LADY CAPULET
What say you, can you love the gentleman?
This night you shall behold him at our feast;
Read o'er the volume of young Paris' face,
And find delight writ there with beauty's pen;
And what obscured in this fair volume lies
Find written in the margent of his eyes.
This precious book of love, this unbound lover,
To beautify him only lacks a cover.
That book in many's eyes doth share the glory
That in gold clasps locks in the golden story:
So shall you share all that he doth possess,
By having him, making yourself no less.
NURSE
No less! Nay, bigger women grow by men.
LADY CAPULET
Speak briefly, can you like of Paris' love?
[MARIA has finished dressing JULIET by now, and is making final adjustments. JULIET
ignores her, thinking.]
JULIET
I'll look to like, if looking liking move;
But no more deep will I endart mine eye
Than your consent gives strength to make it fly.
[Enter KATHRYN]
KATHRYN
Madam, the guests are come, supper served up, you called, my young lady asked for, the
Nurse cursed in the pantry, and everything in extremity. I must hence to wait, I beseech
you follow straight.
LADY CAPULET
We follow thee. Juliet, the County stays.
NURSE
Go, girl, seek happy nights to happy days.
[Lights dim quickly to BLACKOUT as KATHRYN, LADY CAPULET, MARIA and
JULIET exit upstage right.]
27
Act I
Scene 4
Setting: A street in Verona
Time: Sunday evening
[In the blackness, we hear the BAND begin the opening bars of a song, and lights come
up on a group of guys, all wearing masks, who enter from all sides, doing a rap dance on
the streets of Verona-including ROMEO, BALTHASAR, MERCUTIO, DANIEL,
SAMPSON, GREGORY and BENVOLIO. Some of the guys do solo dances. They are
showing off to girls on the street corner (who admire them with catcalls and whistles)some occasionally join them and respond within the music. At the end of the dance, they
break up, sharing drinks from whiskey flasks. Suddenly MERCUTIO takes center stage
and sits down, taking off his mask.]
MERCUTIO
Give me a case to put my visage in
[HE sets his mask down on the ground.]
A visor for a visor!
ROMEO
[Tentatively, as if questioning himself.]
Shall we on without apology?
BENVOLIO
Let them measure us by what they will,
We'll measure them a measure and be gone.
ROMEO
Give me a torch, I am not for this ambling;
MERCUTIO
Nay, gentle Romeo, we must have you dance.
ROMEO
Not I, believe me. You have dancing shoes
With nimble soles, I have a soul of lead
So stakes me to the ground I cannot move.
MERCUTIO
You are a lover, borrow Cupid's wings,
And soar with them above a common bound.
ROMEO
I am too sore enpierced with his shaft
To soar with his light feathers, and so bound
I cannot bound a pitch above dull woe:
Under love's heavy burden do I sink.
MERCUTIO
And to sink in it should you burden love,
Too great oppression for a tender thing.
ROMEO
Is love a tender thing? It is too rough,
Too rude, too boist'rous, and it pricks like thorn.
28
MERCUTIO
If love be rough with you, be rough with love:
Prick love for pricking, and you beat love down.
BENVOLIO
Come, knock and enter, and no sooner in,
But every man betake him to his legs.
ROMEO
And we mean well in going to this feast?
MERCUTIO
Why, may one ask?
ROMEO
I dreamed a dream tonight.
MERCUTIO
And so did I.
ROMEO
Well, what was yours?
MERCUTIO
That dreamers often lie.
ROMEO
In bed asleep, while they do dream things true.
MERCUTIO
[The BAND begins playing only the background music, which continues throughout the
Queen Mab Monologue. The lighting for this songs uses the cyclorama, swirling lights,
and a disco ball provide vivid colors and hallucinatory effects. MERCUTIO takes over
the stage, using platforms and different levels.]
O then I see Queen Mab hath been with you:
She is the fairies' midwife, and she comes
In shape no bigger than an agate-stone
On the forefinger of an alderman,
Drawn with a team of little atomi
Over men's noses as they lie asleep.
Her chariot is an empty hazel nut,
Her wagon-spokes made of long spinners' legs,
The cover of the wings of grasshoppers,
Her traces of the smallest spider web,
Her collars of the moonshine's wat'ry beams,
Her whip of cricket's bone, the lash of film,
Her waggoner a small gray-coated gnat,
Not half so big as a round little worm
Pricked from the lazy finger of a maid.
And in this state she gallops night by night
Through lovers' brains, and then they dream of love,
O'er lawyers' fingers, who straight dream on fees,
O'er ladies' lips, who straight on kisses dream,
Which oft the angry Mab with blisters plagues,
Because their breaths with sweetmeats tainted are.
29
And sometime comes she with a tithe-pig's tail
Tickling a parson's nose as he lies asleep,
Then he dreams of another benefice.
Sometime she driveth o'er a soldier's neck,
And then dreams he of cutting foreign throats,
Of breaches, ambuscadoes, Spanish blades,
Of healths five fathom deep; and then anon
Drums in his ear, at which he starts and wakes,
And being thus frighted, swears a prayer or two,
And sleeps again. This is that very Mab
That plats the manes of horses in the night,
And bakes the elf-locks in foul sluttish hairs,
Which, once entangled, much misfortune bodes.
[At this point, MERCUTIO has ended up downstage at the end of the thrust, and is
looking out over the AUDIENCE. ROMEO gets up and approaches him from behind.]
This is the hag, when maids lie on their backs,
That presses them and learns them first to bear,
Making them women of good carriage. This is sheROMEO
[Putting his hand on MERCUTIO'S shoulder.]
Peace, Mercutio, peace!
[The music stops. ROMEO pulls his forehead to MERCUTIO's forehead.]
Thou talk'st of nothing.
MERCUTIO
True, I talk of dreams,
[Breaks away.]
Which are the children of an idle brain,
Begot of nothing but vain fantasy,
Which is as thin of substance as the air,
And more inconstant than the wind, who woos
Even now the frozen bosom of the north,
And being angered puffs away from thence,
Turning his side to the dew-dropping south.
BENVOLIO
This wind you talk of blows us from ourselves:
Supper is done, and we shall come too late.
[All guys and girls exit upstage left, except ROMEO, who moves downstage left. Behind
him, the stage goes dark. We hear music once again, so softly that we almost can't hear
it. A single footlight spots ROMEO'S face. HE speaks to the AUDIENCE.]
ROMEO
I fear too early,
[ROMEO pauses briefly and we hear the clock begin to strike nine.]
for my mind misgives
Some consequence yet hanging in the stars
Shall bitterly begin his fearful date
With this night's revels, and expire the term
30
Of a despised life closed in my breast,
By some vile forfeit of untimely death.
[ROMEO pauses, and we hear the clock finish.]
But He that hath the steerage of my course
Direct my sail.
[ROMEO exits stage left, following his friends. Music and lights fade to BLACKOUT.]
Act I
Scene 5
Setting: The ballroom inside the Capulet mansion
Time: Sunday, late evening
[In the darkness, party streamers and decorations lower from the ceiling. Immediate
stage right and stage left, tables are carried out, loaded with steaming food and punch.
Lights come up on what appears to be a high school prom, with people entering and
leaving, crossing and talking.
Except for the costumes and masks, it could be any high school dance today. We hear the
music in the darkness, and the lights come up on a group in the midst of a dance. The
CLOWN is singing as the BAND accompanies. JULIET is dancing next to TYBALT-there
is an obvious and warm relationship of blood kinship between the two of them. They play
off each other, and she watches him constantly, with frank admiration.
Couples not involved in the dance are going up and down steps of the platforms, heading
in and out of rooms within the mansion. Everyone in the cast connected to the Capulet
family is on stage.
Upstage right, in front of the balcony, photographers are taking formal pictures of
couples who are lined up. As the photographer takes a picture of each couple, the
picture flashes up on the SCREENS.
Around the featured dance, people sit at tables or do other activities people do at high
school dances. Immediately after the line dance is over, MERCUTIO and his company of
masked men enter.]
LORD CAPULET
Welcome, gentlemen.
Come, musicians, play. Give room!
[MERCUTIO and company dance for the guests-without ROMEO-and while this is
happening, ROMEO enters upstage left. Lighting changes as the dance continues, while
another two specials comes up-one on ROMEO and one on JULIET, who is standing off
to the side with her other girlfriends. JULIET meets ROMEO'S eyes with curiosity, and
but then continues watching the men dance. As the dance continues, ROMEO stops
GREGORY, who is just entering.]
ROMEO
What lady is that?
31
GREGORY
I know not, sir.
[Music softens but continues to play under the following scene, so that we see the dance
almost as a mime,.]
ROMEO
O, she doth teach the torches to burn bright!
It seems she hangs upon the cheek of night
As a rich jewel in an Ethiop's earBeauty too rich for use, for earth too dear.
Did my heart love till now? Forswear it, sight!
For I ne'er saw true beauty till this night.
[Downstage right, MARC has been observing ROMEO during his speech, and he
gestures TYBALT toward ROMEO.]
MARC
This, by his voice, should be a Montague.
TYBALT
[TYBALT looks and then speaks to MARC.]
Fetch me my rapier, boy.
[TYBALT continues to watch ROMEO until the MARC appears with the rapier, and
TYBALT takes it hurriedly]
What dares the slave
Come hither, covered with an antic face,
To fleer and scorn at our solemnity?
[At this point, LADY CAPULET spots TYBALT, and she motions LORD CAPULET to
move in and intercept him as TYBALT continues.]
Now by the stock and honor of my kin,
To strike him dead I hold it not a sin.
LORD CAPULET
[Moving up beside TYBALT and putting his arm around him.]
Why, how now, kinsman, wherefore storm you so?
TYBALT
Uncle, this is a Montague, our foe.
LORD CAPULET
Young Romeo is it?
[He looks across at ROMEO, who is still watching JULIET. Then LORD CAPULET
turns to TYBALT.]
Content thee, gentle coz, let him alone,
Verona brags of him
To be a virtuous and well-governed youth.
I would not for the wealth of all this town
Here in my house do him disparagement;
[TYBALT pushes LORD CAPULET aside, and LORD CAPULET grabs his arm, stopping
him from following ROMEO.]
It is my will; put off these frowns.
32
TYBALT
It fits when such a villain is a guest:
I'll not endure him.
LORD CAPULET
[Slaps him on both sides of the face, then pushes him back against the wall behind him.]
He shall be endured.
Am I the master here, or you? Go to!
You'll make a mutiny among my guests!
TYBALT
Why, uncle, 'tis a shame.
[LADY CAPULET, who has been beside LORD CAPULET, gently touches her husband's
arm, who moves back as she steps in and takes TYBALT by the arm, leading him
downstage right away from her husband.]
LADY CAPULET
You are a princox, go,
Be quiet, or I'll make you quiet!
[Kisses him on the cheek then moves back to GUESTS.]
TYBALT
PatienceI will withdraw, but this intrusion shall,
Now seeming sweet, convert to bitterest gall.
[TYBALT finally storms out upstage right, followed by his PAGE. As the dance ends, the
MASKERS are quickly picked up by girls who are watching, who welcome them by taking
them to the tables, serving them food and drink. JULIET moves in to pick up ROMEO,
then takes him to the table upstage left, near the door. Suddenly, THE CLOWN steps
forward, and bows. LORD CAPULET urges the crowd back.]
LORD CAPULET
Give room!
Ah, madam, this unlooked-for sport comes well.
[The entire group forms a half-circle-circling the MUSICIANS' PLATFORM, their backs
to THE AUDIENCE. ROMEO and JULIET stand in the back, with JULIET standing
beside ROMEO.] The introductory chords for Martina McBride's "Valentine" comes up.
THE CLOWN turns and goes up the steps on the MUSICIANS' PLATFORM, where he
begins to perform the ballad. As he sings, the lights lower and the GUESTS pair up and
begin a slow dance. Meanwhile, JULIET leads ROMEO downstage in front of the
fountain and statue. A special comes up on them. Everyone ignores them, as they would
any couple that is making out during the Prom.]
ROMEO
If I profane with my unworthiest hand
This holy shrine, the gentle sin is this,
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with tender kiss.
JULIET
Good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this,
33
For saints have hands that pilgrims' hands do touch,
And palm to palm is holy palmers' kiss.
ROMEO
Have not saints lips, and holy palmers too?
JULIET
Aye, pilgrim, lips that they must use in prayer.
ROMEO
O then, dear saint, let lips do what hands do:
They pray, grant thou, lest faith turn to despair.
JULIET
Saints do not move, though grant for prayers' sake.
ROMEO
Then move not while my prayer's effect I take.
[kisses her briefly.]
Thus from my lips, by thine, my sin is purged.
JULIET
Then have my lips the sin that they have took.
ROMEO
Sin from my lips? O trespass sweetly urged!
Give me my sin again.
[kisses her again]
JULIET
You kiss by th' book.
[JULIET laughs and kisses him again. MARIA comes downstage, and watches them, and
then coughs in an apologetic, obvious manner. BOTH jump, and look at her.]
MARIA
Madam, your mother craves a word with you.
[JULIET moves back into the dance, looking back as if in apology.]
ROMEO
What is her mother?
MARIA
[Beat as MARIA looks at him in surprise.]
Her mother is the lady of the house,
And a good lady, and a wise and virtuous.
I tell you, he that can lay hold of her
Shall have the chinks.
[ROMEO speaks directly to the AUDIENCE, as MARIA moves upstage.]
ROMEO
Is she a Capulet?
O dear account! My life is my foe's debt.
[The lights suddenly bring the room to life as the freeze ends. BENVOLIO comes up to
him.]
BENVOLIO
Away, be gone, the sport is at the best.
[MERCUTIO and COMPANY prepare to leave, with girls still talking to them-they are
obviously a hit. LORD CAPULET stops them.]
34
LORD CAPULET
Nay, gentlemen, prepare not to be gone.
[The rest of the COMPANY, surrounding ROMEO and LORD CAPULET, talk in low
tones to LORD CAPULET. He looks at his watch.]
Is it e'en so? Why then I thank you all.
I thank you, honest gentlemen, good night.
[COMPANY leaves. ROMEO is the last to go. He keeps looking back at JULIET, who is
finally playing coy and doesn't seem to notice him.]
Then let's to bed; it waxes late,
I'll to my rest.
[Exit all but JULIET and MARIA, who talk as they leave. JULIET furtively watches
ROMEO, then talks to the MARIA, gesturing to ROMEO.]
JULIET
What is yond gentleman?
MARIA
I know not.
JULIET
Go ask his name.
[MARIA stops ROMEO just as he is leaving.]
If he be married,
My grave is like to be my wedding bed.
MARIA
[Returns to JULIET as the GUESTS depart, leaving the two of them alone.]
His name is Romeo, and a Montague.
The only son of your great enemy.
[MARIA leaves.]
JULIET
[To the AUDIENCE.]
My only love sprung from my only hate!
Too early seen unknown, and known too late!
Prodigious birth of love it is to me,
That I must love a loathed enemy.
LADY CAPULET
[Calls from within the house.]
Juliet!
[JULIET runs out as lights dim to BLACKOUT.]
35
Act II
Scene 1
Setting: A street
Time: Sunday, midnight
[Lights come up on ROMEO on a street, frozen in the midst of running while looking
back over his shoulder. The CLOWN-is holding out his hands, as if he is controlling
ROMEO with strings, like a puppet. He is walking around him, examining him closely.]
CLOWN
Now old desire doth in his death-bed lie,
And young affection gapes to be his heir;
That fair for which love groaned for and would die,
With tender Juliet matched is now not fair.
Now Romeo is beloved, and loves again,
Alike bewitched by the charm of looks;
But to his foe supposed he must complain,
And she steal love's sweet bait from fearful hooks.
Being held a foe, he may not have access
To breathe such vows as lovers use to swear,
And she as much in love, her means much less
To meet her new-beloved any where:
But passion lends them power, time means, to meet,
Temp'ring extremities with extreme sweet.
[The CLOWN makes a gesture of release, and ROMEO responds immediately. He
immediately comes out of his freeze, and the CLOWN leaves upstage left. ROMEO again
looks behind him.]
ROMEO
Can I go forward when my heart is here?
Turn back, dull earth, and find thy center out.
[then runs to the top of the MUSICIANS' PLATFORM, hiding among them as they are
startled into surprise. This should be funny. We hear the sounds of the MASKERS
following. BENVOLIO enters upstage right and MERCUTIO upstage left.]
BENVOLIO
Romeo! My cousin Romeo! Romeo!
MERCUTIO
He is wise,
And on my life hath stol'n him home to bed.
BENVOLIO
He ran this way and leapt this orchard wall.
Call, good Mercutio.
MERCUTIO
Nay, I'll conjure too.
Romeo! Madman! Lover!
Appear thou in the likeness of a sigh,
Speak but one rhyme, and I am satisfied;
36
Cry but 'Ay me!', pronounce but 'love' and 'dove',
He heareth not, he stirreth not, he moveth not,
The ape is dead, and I must conjure him.
I conjure thee by Rosaline's bright eyes,
By her high forehead and her scarlet lip,
By her fine foot, straight let, and quivering thighBENVOLIO
Come, he hath hid himself among these trees.
To be consorted with the humorous night:
Blind is his love, and best befits the dark.
MERCUTIO
If love be blind, love cannot hit the mark.
Romeo, good night, I'll to my truckle-bed,
This field bed is too cold for me to sleep.
Come, shall we go?
[BENVOLIO and MERCUTIO exit upstage left and lights fade to black]
Act II
Scene 2
Setting: Juliet's balcony
Time: Sunday, after midnight
[The light comes up only on the MUSICIANS' PLATFORM. Then we see ROMEO'S
head peer over the edge, surveying the world around him. He is in a different world.]
ROMEO
He jests at scars that never felt a wound.
[He drops down from the platform. The lighting has changed so that the stage looks like
an orchard of moving, natural life. He stands downstage center on the MAIN STAGE.
On the stage right extension, the lights come up on the balcony.]
But soft, what light through yonder window breaks?
It is the east, and Juliet is the sun.
Arise, fair sun, and kill the envious moon,
Who is already sick and pale with grief
That thou, her maid, art far more fair than she.
[We hear the opening strains of "Valentine," which plays under the entire scene
following, and JULIET appears above on the balcony. She looks out over the
AUDIENCE, not seeing ROMEO, who is now hiding behind one of the pillars under the
Musicians' Platform. ROMEO looks at the AUDIENCE and speaks to them.]
37
It is my lady, O it is my love:
O that she knew she were!
She speaks,
[JULIET'S lips move, as if in speech]
yet she says nothing; what of that?
Her eye discourses, I will answer it.
I am too bold, 'tis not to me she speaks:
Two of the fairest stars in all the heaven,
Having some business, do entreat her eyes
To twinkle in their spheres till they return.
See how she leans her cheek upon her hand!
O that I were a glove upon that hand,
That I might touch that cheek!
JULIET
Ah me!
ROMEO
[To the AUDIENCE.]
She speaks.
O speak again, bright angel.
JULIET
O Romeo, Romeo, wherefore art thou Romeo?
Deny thy father and refuse thy name;
Or if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.
ROMEO
[To the AUDIENCE.]
Shall I hear more, or shall I speak at this?
JULIET
[JULIET is obviously trying to convince herself that TYBALT is wrong
and it's okay for her to love ROMEO.]
'Tis but thy name that is my enemy.
What's Montague? It is nor hand nor foot,
Nor arm nor face, nor any other part
Belonging to a man. O be some other name!
What's in a name? That which we call a rose
By any other word would smell as sweet;
So Romeo would, were he not Romeo called,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for thy name, which is no part of thee,
Take all myself.
ROMEO
[Steps forward, center stage, as a special lights him]
I take thee at thy word;
Call me but love, and I'll be new baptized;
Henceforth I never will be Romeo.
38
JULIET
[Frightened, JULIET backs up to the door behind her as she speaks.]
What man art thou that thus bescreened in night
So stumblest on my counsel?
ROMEO
By a name
I know not how to tell thee who I am.
My name, dear saint, is hateful to myself,
Because it is an enemy to thee;
Had I it written, I would tear the word.
JULIET
My ears have yet not drunk a hundred words
Of thy tongue's uttering, yet I know the sound.
[JULIET begins descending the stairs to the ground.]
Art thou not Romeo, and a Montague?
ROMEO
Neither, fair maid, if either thee dislike.
JULIET
[They are both on the ground, separated only by the aisle of space.
JULIET is obviously trying to play angry.]
How cam'st thou hither, tell me, and wherefore?
The orchard walls are high and hard to climb,
And the place death, considering who thou art,
If any of my kinsmen find thee here.
ROMEO
With love's light wings
[ROMEO cautiously crosses the aisle, almost as if approaching a frightened animal,
ending up in front of JULIET.]
did I o'erperch these walls,
For stony limits cannot hold love out,
And what love can do, that dares love attempt:
[Stands and shouts the following to the AUDIENCE,
his back to JULIET.]
Therefore thy kinsmen are no stop to me.
JULIET
Shh.
[Grabs ROMEO from behind and covers his mouth.]
If they do see thee, they will murder thee.
ROMEO
I have night's cloak to hide me from their eyes,
[Turns to her-they are now in each other's arms.]
And but thou love me, let them find me here;
My life were better ended by their hate,
Than death postponed, wanting of thy love.
JULIET
By whose direction found'st thou out this place?
39
ROMEO
By Love, that first did prompt me to enquire:
He lent me counsel, and I lent him eyes.
JULIET
Thou knowest the mask of night is on my face,
Else would a maiden blush bepaint my cheek
For that which thou hast heard me speak tonight.
Dost thou love me?
[Covers his lips with her fingers.]
O gentle Romeo,
If thou dost love, pronounce it faithfully;
Or if thou think'st I am too quickly won,
I'll frown and be perverse, and say thee Nay.
In truth, fair Montague, I am too fond,
And therefore thou mayst think my behavior light:
But trust me, gentleman, I'll prove more true
Than those that have more coying to be strange.
I should have been more strange, I must confess,
But that thou overheard'st (ere I was ware)
My true-love passion; therefore pardon me,
And not impute this yielding to light love,
Which the dark night hath so discovered.
ROMEO
[Kneels to her as he speaks]
Lady, by yonder blessed moon I vow,
That tips with silver all these fruit tree topsJULIET
[Pulls him to his feet.]
O swear not by the moon, th'inconstant moon,
That monthly changes in her circled orb,
Lest that thy love prove likewise variable.
ROMEO
What shall I swear by?
JULIET
Do not swear at all;
Or if thou wilt, swear by thy gracious self,
Which is the god of my idolatry,
And I'll believe thee.
ROMEO
I swear, Ah Juliet[ROMEO and JULIET kiss.]
JULIET
[Pulling away from ROMEO.]
Sweet, good night:
This bud of love, by summer's ripening breath,
May prove a beauteous flower when next we meet.
40
Good night, good night!
ROMEO
[Watches her go part way up the balcony, then stops her with his voice.]
O wilt thou leave me so unsatisfied?
JULIET
What satisfaction canst thou have tonight?
ROMEO
Th' exchange of thy love's faithful vow for mine.
[Strains of "Valentine" begin under this speech and
continues until the end of this scene.]
JULIET
I gave thee mine before thou didst request it;
And yet I would it were to give again.
ROMEO
Wouldst thou withdraw it? For what purpose, love?
JULIET
[Runs to him laughing.]
But to be frank and give it thee again,
[They kiss again.]
And yet I wish but for the thing I have:
My bounty is as boundless as the sea,
The more I give to thee
The more I have, for both are infinite.
MARIA
[From within.]
Juliet?
MARIA
I hear some noise within; dear love, adieu!Anon!-Sweet Montague, be true.
MARIA
[From within.]
Juliet!
JULIET
Stay but a little, I will come again.
[JULIET exits]
ROMEO
O blessed, blessed night! I am afeared,
Being in night, all this is but a dream.
[JULIET enters from above.]
JULIET
Three words, Romeo, and good night indeed.
If that thy bent of love be honorable,
Thy purpose marriage, send me word tomorrow,
By one that I'll procure to come to thee,
Where and what time thou wilt perform the rite,
And all my fortunes at thy foot I'll lay,
41
And follow thee my lord throughout the world.
MARIA
[from within]
Juliet!
JULIET
I come, anon.-But if thou meanest not well,
I do beseech theeMARIA
[from within]
Madam!
JULIET
By and by I comeTo cease thy strife, and leave me to my grief.
Tomorrow will I send.
ROMEO
So thrive my soulJULIET
A thousand times good night!
[JULIET exits above. ROMEO retires slowly.]
ROMEO
A thousand times the worse, to want thy light.
Love goes toward love as schoolboys from their books,
But love from love, toward school with heavy looks.
[Suddenly, JULIET enters again.]
JULIET
Hist, Romeo, hist!
[ROMEO comes back.]
What o'clock tomorrow
Shall I send to thee?
ROMEO
At the hour of nine.
JULIET
I will not fail, 'tis twenty years till then.
[JULIET pauses, then grins sheepishly.]
I have forgot why I did call thee back.
ROMEO
Let me stand here till thou remember it.
JULIET
I shall forget, to have thee still stand there,
Rememb'ring how I love thy company.
ROMEO
And I'll still stay, to have thee still forget.
JULIET
Good night, good night! Parting is such sweet sorrow,
That I shall say good night till it be morrow.
42
[JULIET exits above.]
ROMEO
Sleep dwell upon thine eyes, peace in thy breast!
Would I were sleep and peace, so sweet to rest!
Hence will I to my ghostly sire's close cell,
His help to crave, and my dear hap to tell.
[ROMEO exits upstage right as stage goes to BLACKOUT.]
Act II
Scene 3
Setting: Outside Friar Lawrence's cell
Time: Monday, early morning
[We hear the sounds of birds, and then lights come up on the CLOWN dressed as FRIAR
LAWRENCE on the Stage Left Extension. He is climbing down a rope from the catwalk
into a balcony, where we see plants and flowers. He pulls out a vial of something.]
FRIAR LAWRENCE
O mighty is the powerful grace that lies
In plants, herbs, stones, and their true qualities:
[He climbs down the second ladder to the stage floor and sits down tiredly on the bench,
sorting through the flowers and weeds in his basket.]
For nought so vile, that on the earth doth live,
But to the earth some special good doth give;
[Enter ROMEO.]
Within the infant rind of this weak flower
Poison hath residence, and medicine power:
ROMEO
Good morrow, father.
FRIAR LAWRENCE
Benedicite!
What early tongue so sweet saluteth me?
Young son, it argues a distempered head
So soon to bid good morrow to thy bed:
Or if not so, then here I hit it right,
Our Romeo hath not been in bed tonight.
ROMEO
The last is true, the sweeter rest was mine.
FRIAR LAWRENCE
God pardon sin! Wast thou with Rosaline?
ROMEO
With Rosaline, my ghostly father? No;
I have forgot that name, and that name's woe.
43
FRIAR LAWRENCE
That's my good son, but where hast thou been then?
ROMEO
I'll tell thee ere thou ask again:
I have been feasting with mine enemy,
Where on a sudden one hath wounded me
That's by me wounded; both our remedies
Within thy help and holy physic lies.
FRIAR LAWRENCE
Be plain, good son, and homely in thy drift,
Riddling confession finds but riddling shrift.
ROMEO
Then plainly know, my heart's dear love is set
On the fair daughter of rich Capulet;
When and where and how
We met, we wooed, and made exchange of vow,
I'll tell thee as we pass, but this I pray,
That thou consent to marry us today.
FRIAR LAWRENCE
Holy Saint Francis, what a change is here!
Is Rosaline, that thou didst love so dear,
So soon forsaken? Young men's love then lies
Not truly in their hearts, but in their eyes.
ROMEO
Thou chid'st me oft for loving Rosaline.
FRIAR LAWRENCE
For doting, not for loving, pupil mine.
ROMEO
And bad'st me bury love.
FRIAR LAWRENCE
Not in a grave,
To lay one in, another out to have.
[Suddenly FRIAR LAWRENCE stops as he hears the opening lines of a chant of "Kyrie"
from a mixed choir offstage. A special comes up on a crucifix, toward which the FRIAR
genuflects. He pulls out his beads, crosses himself, and then turns to ROMEO.]
But come, young waverer, come go with me,
In one respect I'll thy assistant be:
For this alliance may so happy prove
To turn your household's rancor to pure love.
[ROMEO and FRIAR LAWRENCE exit upstage right
as lights dim to BLACKOUT.]
44
Act II
Scene 4
Setting: Café Verona
Time: Monday, late morning
[Lights immediately come up very bright on tables and cafes once again. Setting is the
same as in the first scene, with young people involved in activities of boredom and
leisure. Enter BENVOLIO and MERCUTO, who move downstage on the thrust stage.]
MERCUTIO
Where the dev'l should this Romeo be?
Came he not home tonight?
BENVOLIO
Not to his father's, I spoke with his man.
Tybalt, the kinsman to old Capulet,
Hath sent a letter to his father's house.
MERCUTIO
A challenge, on my life.
BENVOLIO
Romeo will answer it.
MERCUTO
Any man that can write may answer a letter.
BENVOLIO
Nay, he will answer the letter's master, how he dares, being dared.
MERCUTIO
Alas, poor Romeo, he is already dead, stabbed with a white wench's black eye, run
through the ear with a love song, the very pin of his heart cleft with the blind bow-boy's
butt shaft: and is he a man to encounter Tybalt?
BENVOLIO
Why, what is Tybalt?
MERCUTIO
More than Prince of Cats. I can tell you.
[Enter ROMEO running from upstage right.]
BENVOLIO
Here comes Romeo.
MERCUTIO
[Turns his back to ROMEO and talks to BENVOLIO as he tries to sit down on the
fountain, groaning and bending like an old man.]
That we should be thus afflicted with these strange flies, these fashion-mongers, these
pardon me's, who stand so much on the new form, that they cannot sit at ease on the old
bench. O their bones, their bones!
ROMEO
Good morrow to you both.
45
MERCUTIO
Signior Romeo, bon jour!
There's a French salutation to you, French slop. You gave us the counterfeit fairly last
night.
ROMEO
What counterfeit did I give you?
MERCUTIO
The slip, sir, the slip, can you not conceive?
ROMEO
Pardon, good Mercutio, my business was great, and in such a case as mine a man may
strain courtesy.
MERCUTIO
That's as much to say, such a case as yours
constrains a man to bow in the hams.
ROMEO
Meaning to curtsy.
MERCUTIO
Thou hast most kindly hit it.
ROMEO
A most courteous explanation.
MERCUTIO
Nay, I am the very pink of courtesy.
ROMEO
Pink for flower.
MERCUTIO
Right.
ROMEO
Why then is my pump well flowered.
MERCUTIO
Sure wit! Follow me this jest now, till thou hast worn out thy pump, that when the single
sole of it is worn, the jest may remain, after the wearing, solely singular.
ROMEO
O single-soled jest, solely singular for the singleness.
MERCUTIO
Come between us, good Benvolio, my wits faint.
ROMEO
I'll cry a match.
MERCUTIO
Nay, if our wits run the wild-goose chase, I am done; for thou hast more of the wild
goose in one of thy wits than, I am sure, I have in my whole five. Was I with you there
for the goose?
ROMEO
Thou was never with me for any thing when thou
wast not there for the goose.
MERCUTIO
Thy wit is a very bitter sweeting, it is a most sharp sauce.
46
ROMEO
And is it not then well served in to a sweet goose?
MERCUTIO
O here's a wit of leather, that stretches from an inch narrow to
forty-five inches broad.
ROMEO
I stretch it out for that word broad, which, added to the goose,
proves thee far and wide a broad goose.
MERCUTIO
Why, is not this better now than groaning for love?
Now art thou sociable, now art thou Romeo; now art thou what thou art, by art as well as
by nature,
for this drivelling love is like a great natural that runs lolling up and down to hide his
bauble in a hole.
BENVOLIO
Stop there, stop there!
MERCUTIO
Thou desirest me to stop in my tale against the hair?
BENVOLIO
Thou wouldst else have made thy tale large.
MERCUTIO
O thou art deceived; I would have made it short, for I was
come to the whole depth of my tale, and meant
indeed to occupy the argument no longer.
[ROMEO has been watching as the NURSE and SAMPSON enter from the back of the
AUDITORIUM.]
ROMEO
A sail, a sail
[They all look.]
NURSE
Sampson!
SAMPSON
Anon.
NURSE
My fan, Sampson.
MERCUTIO
Good Sampson, to hide her face, for her fan's the fairer face.
[All laugh at the NURSE, including SAMPSON.]
NURSE
Good day, fair gentlemen.
MERCUTIO
Good day, fair gentlewoman.
NURSE
Is it good day?
47
MERCUTIO
'Tis no less, I tell ye, for the bawdy hand of the dial is now
upon the prick of noon.
NURSE
Out upon you, what a man are you?
ROMEO
One, gentlewoman, that God hath made, himself to mar.
NURSE
By my troth, it is well said.
[She laughs uproariously with the rest of the men.]
Gentlemen, can any of you tell me where I may find young Romeo?
ROMEO
I am the youngest of that name.
NURSE
If you be he, sir, I desire some confidence with you.
[They step aside as MERCUTIO and BENVOLIO watch.]
BENVOLIO
She will indite him to some supper.
MERCUTO
[He whispers to BENVOLIO in mock delight]
A bawd, a bawd.
[The two fellows sneak up to the NURSE, who is by now having a mimed conversation
with ROMEO. MERCUTIO gets behind the NURSE and dives through her legs,
shouting.]
A bawd!
[The NURSE jumps away and then begins kicking him in the stomach. MERCUTIO yelps
and howls and flees to the other side of the stage. THE NURSE is infuriated and chases
him around the stage.]
NURSE
Scurvy knave. I am none of his flirt-gills; I am none of his skains-mates. I'll take him
down, even if he were lustier than he is, and twenty such Jacks, and if I cannot, I'll find
those that shall.
MERCUTIO
So ho!
[Stumbles and falls as he tries to get away from her-a new respect in his eyes. She finally
lets him get up and he begins to leave, then turns back to ROMEO.]
Romeo, will you come to your father's?
We'll to dinner thither.
ROMEO
I will follow you.
MERCUTIO
Farewell, ancient lady, farewell.
[At the top of one of the platforms, as he is prepared to disappear, MERCUTIO can't
resist, and he turns and sings Sting's version of the song very poorly and off key]
Roxanne, you don't have to wear that dress tonight.
48
[NURSE lunges toward MERCUTIO and BENVOLIO as they exit upstage. Then THE
NURSE stares after MERCUTIO, while SAMPSON and ROMEO laugh. SHE turns and
comes back down to ROMEO, glaring at him as he is laughing. He stops laughing.]
NURSE
I pray you, sir, what saucy merchant was this
that was so full of his ropery?
ROMEO
A gentleman, Nurse, that loves to hear himself talk, and will speak more in a minute than
he will stand to in a month.
NURSE
And he speak anything against me.
[Turns accusingly to SAMPSON.]
And thou must stand by and suffer every knave to use me at his pleasure!
SAMPSON
I saw no man use you at his pleasure; if I had, my weapon should quickly have been out.
I warrant you, I dare draw as soon as another man, if I see occasion in a good quarrel, and
the law on my side.
NURSE
Now afore God, I am so vexed that every part about me quivers. Scurvy knave! Pray
you, sir, a word.
[NURSE leads ROMEO downstage to the thrust, and they both
face the AUDIENCE in confidence.]
My young lady bid me enquire you out; what she bid me say, I will keep to myself. But
first let me tell ye, if ye should lead her in a fool's paradise . . .
[ROMEO protests, and NURSE brushes his protests aside.]
As they say, it were a gross kind of behavior, as they say; for the gentlewoman is young,
and therefore, if you should deal double with her, truly it were an ill thing to be offered to
any gentlewoman, and very weak dealing.
ROMEO
Bid her devise
Some means to come to shrift this afternoon,
And there she shall at Friar Lawrence's cell
Be shrived and married.
NURSE
This afternoon, sir? Well, she shall be there. My mistress is the sweetest lady-Lord,
Lord! When 'twas a little prating thingROMEO
Commend me to thy lady.
NURSE
Aye, a thousand times.
[Exit ROMEO.]
Sampson!
SAMPSON
Anon.
NURSE
[Handing him her fan.] Before and apace.
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[SAMPSON and NURSE exit back through the auditorium as
lights go to BLACKOUT.]
Act II
Scene 5
Setting: Juliet's balcony
Time: Monday, noon
[Lights come up on JULIET'S balcony. JULIET is pacing in front of the steps leading
up, glancing at her watch, occasionally running up a few of the steps to look
upstage, as out the door.]
JULIET
The clock struck nine when I did send the Nurse;
In half an hour she promised to return.
Three long hours, yet she is not come.
Had she affections and warm youthful blood,
She would be swift in motion as a ball;
But old folks, many feign as they were dead,
[Acts out the NURSE'S walk and actions.]
Unwieldy, slow, heavy, and pale as lead.
[Enter NURSE with SAMPSON.]
Oh God, she comes! O honey Nurse, what news?
Hast thou met with him? Send thy man away.
NURSE
Sampson, stay at the gate.
[Exit SAMPSON.]
JULIET
Now, good sweet Nurse-O Lord, why look'st thou sad?
NURSE
I am a-weary, give me leave a while.
Fie, how my bones ache!
JULIET
I would thou hast my bones, and I thy news.
Nay, come, I pray thee speak, good, good Nurse, speak.
NURSE
Jesu, what haste! Can you not stay a while?
Do you not see that I am out of breath?
JULIET
How art thou out of breath, when thou hadst breath
To say to me that thou art out of breath?
The excuse that thou dost make in this delay
50
Is longer than the tale thou dost excuse.
Is thy news good or bad? Answer to that.
Let me be satisfied, is't good or bad?
NURSE
Well, you have made a simple choice, you know not how to choose a man: Romeo? No,
not he; though his face be better than any man's, yet his leg excels all men's, and for a
hand and a foot and a body-they are past compare. [Sighs and gets up to go in.] Go thy
ways, wench, serve God. What, have you dined at home?
JULIET
No, no! But all this did I know before.
What says he of our marriage, what of that?
NURSE
Lord, how my head aches! What a head have I!
It beats as it would fall in twenty pieces.
My back a't'other side.
[JULIET rubs the NURSE'S back.]
Ah, my back, my back!
Beshrew your heart for sending me about
To catch my death with jauncing up and down!
JULIET
I'faith, I am sorry that thou art not well.
Sweet, sweet, sweet Nurse, tell me, what says my love?
NURSE
Your love says, like an honest gentleman,
And a courteous, and a kind, and a handsome,
And I warrant a virtuous-Where's your mother?
JULIET
Where is my mother? Why she is within.
Where should she be? How oddly thou repliest:
"Your love says, like an honest gentleman,
'Where is your mother?'"
NURSE
O God's lady dear,
Are you so hot? Marry come up, I trow;
Is this the poultice for my aching bones?
Henceforward do your messages yourself.
JULIET
Here's such a coil! Come, what says Romeo?
NURSE
Have you got leave to go to confession today?
JULIET
I have.
NURSE
Then hie you hence to Friar Lawrence's cell,
There stays a husband to make you a wife.
Now comes the wanton blood up in your cheeks.
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Go, I'll to dinner, hie you to the cell.
JULIET
Honest Nurse, farewell.
[Lights go down on the NURSE and JULIET as JULIET runs across the MAIN STAGE,
exiting stage left, while the NURSE watches her.]
Act II
Scene 6
Setting: Friar Lawrence's cell
Time: Monday, early afternoon
[Lights come up immediately upon FRIAR LAWRENCE and ROMEO just outside the
doorway on the STAGE LEFT EXTENSION. They are waiting.]
FRIAR LAWRENCE
So smile the heavens upon this holy act,
That after-hours with sorrow chide us not.
ROMEO
Amen, amen. But come what sorrow can,
It cannot countervail the exchange of joy
That one short minute gives me in her sight.
FRIAR LAWRENCE
These violent delights have violent ends.
Therefore, love moderately, long love doth so;
Too swift arrives as tardy as too slow.
[Enter JULIET upstage right.]
Here comes the lady. O, so light a foot
Will ne'er wear out the everlasting flint.
JULIET
Good even to my ghostly confessor.
[ROMEO runs to kiss JULIET.]
FRIAR LAWRENCE
Romeo shall thank thee, daughter, for us both.
[FRIAR LAWRENCE tries to separate them. JULIET gets around the FRIAR to return
his kiss. FRIAR LAWRENCE separates them again.]
Come, come with me, and we will make short work,
For by your leaves, you shall not stay alone
Till Holy Church incorporates two in one.
[ROMEO, JULIET and FRIAR LAWRENCE take positions to perform the marriage
ceremony. Opening strains of Jeremiah Clark's "Trumpet Voluntary" comes up and they
freeze in tableau as lights and music fades to BLACKOUT.]
Fifteen-Minute Intermission
52
Act III
Scene 1
Setting: Café Verona
Time: Monday, high noon
[As the intermission ends, lights go to black. We hear the background music to
"Uninvited" which plays under this entire scene.
Immediately after the first drum beat of "Uninvited," lights flash up to full on café tables.
The entire cast is in tableau, as it will be set at the end, with townspeople frozen.
The CLOWN, dressed as MERCUTIO, is standing on the very edge of the Musicians'
Platform, playing with her sword, dueling and thrusting an imaginary enemy.
At the downstage end of the thrust stage, ROMEO and TYBALT are frozen in the position
that will later occur when ROMEO makes his final death thrust into TYBALT. Suddenly,
the CLOWN jumps off the platform, into the midst of the crowd, and moves through the
frozen townspeople, circling the two frozen figures, slashing the air.
Then she kneels, taking a position directly in front of the men. She freezes briefly, and
the music stops completely. All is still. She holds her sword lined up in a perpendicular
angle, running from crotch to nose.
Suddenly, she screams murderously-the reverberation in the sound system gives her voice
an echoing quality. After
the echoes have died, she whispers:]
A plague on both your houses!
[Echoes again reverberate and lights go suddenly to black again, and then come up very
slowly, revealing a café scene once again with moving, living young people. The
CLOWN, TYBALT, and ROMEO are gone. Enter MERCUTIO, DANIEL and
BENVOLIO.]
BENVOLIO
I pray thee, good Mercutio, let's retire:
The day is hot, the Capels are abroad,
And if we meet we shall not scape a brawl,
For now, these hot days, is the mad blood stirring.
MERCUTIO
Thou art like one of these fellows that, when he enters a tavern, claps his sword upon the
table, and says "God send me no need of thee!"; and by the second drink draws on the
bartender.
BENVOLIO
Am I like such a fellow?
MERCUTIO
Come, come, thou art as hot a Jack in thy mood as any, and as soon moved to be moody,
and as soon moody to be moved.
BENVOLIO
And what to?
MERCUTIO
Nay, and there were two such, we should have none shortly, for one would kill the other.
Thou? Why, thou wilt quarrel with a man that hath a hair more or a hair less on his head
53
than thou hast; thou wilt quarrel with a man for cracking nuts, having no other reason but
because thou hast hazel eyes. What eye but such an eye would spy out such a quarrel?
Thy head is as full of quarrels as an egg is full of meat, and yet thy head hath been beaten
as addle as an egg for quarrelling.
[TYBALT and MARC enter from the back of the AUDITORIUM, but MERCUTIO doesn't
notice. MERCUTIO continues to run his mouth.]
Thou hast quarreled with a man for coughing in the street, because he hath wakened thy
dog that hath lain asleep in the sun. And yet thou wilt tutor me from quarrelling?
BENVOLIO
By my head, here comes the Capulets.
MERCUTIO
By my heel, I care not.
TYBALT
Follow me close, for I will speak to them.
Gentlemen, good day, a word with one of you.
MERCUTIO
And one word with one of us?
Couple it with something, make it a word and a blow.
TYBALT
You shall find me apt enough to that, sir, and you will give me occasion.
MERCUTIO
Could you not take some occasion without giving?
MARC
Mercutio, thou consortest with Romeo.
DANIEL
Consort? What, dost thou make us minstrels?
MERCUTIO
Here's my fiddlestick, here's that shall make you dance. 'Zounds, consort!
BENVOLIO
We talk here in the public haunt of men:
Either withdraw unto some private place,
Or reason coldly of your grievances,
Or else depart; here all eyes gaze on us.
MERCUTIO
Men's eyes were made to look, and let them gaze;
I will not budge for no man's pleasure, I.
[Enter ROMEO and BALTHASAR from upstage left.]
TYBALT
Well, peace be with you, sir, here comes my man.
[TYBALT approaches ROMEO and confronts him.]
Romeo, the love I bear thee can afford
No better term than this: thou art a villain.
ROMEO
Tybalt, the reason that I have to love thee
Dost much excuse the appertaining rage I bear
Toward such a greeting. Villain am I none;
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Therefore, farewell, I see thou knowest me not.
TYBALT
Boy, this shall not excuse the injuries
That thou hast done me, therefore turn and draw.
ROMEO
I do protest I never injured thee,
But love thee better than thou canst devise,
Till thou shalt know the reason of my love;
And so, good Capulet, which name I tender
As dearly as mine own, be satisfied.
[TYBALT spits on ROMEO and starts to leave.]
MERCUTIO
O calm, dishonorable, vile submission!
[MERCUTIO comes up behind TYBALT and shouts.]
Tybalt, you rat-catcher, will you walk?
TYBALT
What wouldst thou have with me?
MERCUTIO
Good King of Cats, nothing but one of your nine lives that I mean to make bold withal.
Will you pluck your sword out of his pilcher by the ears?
[MERCUTIO puts sword against TYBALT'S neck.]
Make haste, lest mine be about your ears ere it be out.
TYBALT
I am for you. [Drawing.]
ROMEO
Gentle Mercutio, put thy rapier up.
MERCUTIO
Come sir.
[Background music begins softly from the BAND, growing
in intensity as the fight goes on.]
ROMEO
Draw, Benvolio, beat down their weapons.
Gentlemen, for shame forbear this outrage!
Tybalt, Mercutio, the Mayor expressly hath
Forbid this bandying in Verona streets.
[Romeo steps between them.]
Hold, Tybalt! Good Mercutio!
[The men have moved upstage center, to the top of the upstage right center platform.
Most of the cast has entered the stage, and around the two fighters, the crowd-its back to
the AUDIENCE-watches the action in eerie silence. Only the drums are playing at this
point. Behind them, the cyclorama, lights up. Footlights are used to create a silhouette
and gigantic shadows. In highly stylized motions, we see the figure of TYBALT make a
gigantic thrust under ROMEO'S arm into MERCUTIO. TYBALT makes the critical stab.
There is a freeze, the music stops, the lighting returns to normal. TYBALT pulls out his
sword-sees what we assume is blood-looks around him and flees. MARC follows.]
55
MERCUTIO
I am hurt.
A plague a'both houses. I am sped.
Is he gone and hath nothing?
BENVOLIO
What, art thou hurt?
MERCUTIO
Aye, aye, a scratch, a scratch, marry, 'tis enough.
Where is my servant?
[Slaps MARC on both sides of her face.]
Go, villain, fetch a surgeon.
[MARC exits.]
ROMEO
Courage, man, the hurt cannot be much.
MERCUTIO
[BENVOLIO and BALTHASAR support MERCUTIO.]
No, 'tis not so deep as a well, nor so wide as a church-door, but 'tis enough, 'twill serve.
Ask for me tomorrow, and you shall find me a grave man. I am peppered, I warrant, for
this world. A plague on both your houses. 'Zounds, a dog, a rat, a mouse, a cat, to
scratch a man to death! A braggart, a rogue, a villain. Why the dev'l came you between
us? I was hurt under your arm.
ROMEO
I thought all for the best.
MERCUTIO
Help me into the house, Benvolio,
Or I shall faint. A plague on both your houses!
They have made worms' meat of me. I have it,
And soundly too. Your houses!
[Exit MERCUTIO with BENVOLIO and BALTHASAR.]
ROMEO
This gentleman, the Prince's near ally,
My very friend, hath got this mortal hurt
In my behalf; my reputation stained
With Tybalt's slander-Tybalt, that an hour
Hath been my cousin. O sweet Juliet,
Thy beauty hath made me effeminate!
[Enter BENVOLIO.]
BENVOLIO
O Romeo, Romeo, brave Mercutio is dead.
[ROMEO looks upstage, just in time-to see TYBALT and MARC cross from stage left to
stage right behind the platforms. He leaps up, and races up to the top of one of the
platforms, gesturing with his sword toward the TYBALT.]
ROMEO
Now, Tybalt, take the "villain" back again
That late thou gavest me, for Mercutio's soul
Is but a little way above our heads,
56
Staying for thine to keep him company:
Either thou or I, or both, must go with him.
TYBALT
[TYBALT comes around the platforms, stage right, and faces ROMEO.]
Thou wretched boy shall with him hence.
ROMEO
This shall determine that.
[Background music begins. TYBALT moves to meet ROMEO and they clash at the point
where the MAIN STAGE meets the thrust. They fight. Again, the fight is stylized. Music
becomes dogged and persistent, increasing in volume and intensity. Meanwhile, the fight
scene has included a lot of running, dodging among the platforms. Finally, TYBALT and
ROMEO end up downstage center on the thrust stage, where a greatly stylized ending
stab is made. The music of the band cross fades with the sound of the MAYOR'S
helicopter. We hear the sounds of people backstage. BENVOLIO grabs him by the arm.]
BENVOLIO
Romeo, away, be gone!
The citizens are up, and Tybalt slain.
Stand not amazed, the Mayor will doom thee death
If thou art taken. Hence be gone, away!
ROMEO
O, I am fortune's fool.
BENVOLIO
Why dost thou stay?
[Exit ROMEO upstage left. The sound of the helicopter increases. Doors fly open in the
back of the auditorium and people begin coming onstage-from all sides in the auditorium,
talking loudly. The CAPTAIN leads the way, along with several of his POLICE. He
takes in the scene.]
CAPTAIN
Which way ran he that killed Mercutio?
Tybalt, that murderer, which way ran he?
BENVOLIO
There lies that Tybalt.
CAPTAIN
Up, sir, go with me;
I charge thee in the Mayor's name obey.
[Enter LORD MONTAGUE, LORD CAPULET and the entire remaining cast. They make
a tableau, circling the bodies-and then the MAYOR enters, once again with his
BODYGUARDS. He moves to the bodies, and then stops upstage of them. By now, both
TYBALT and MERCUTIO are lying out straight on the floor of the stage. LADY
CAPULET is crouched over TYBALT, crying, and THE MAYOR is standing above
MERCUTIO.]
MAYOR
Where are the vile beginners of this fray?
BENVOLIO
O noble Mayor, I can discover all
The unlucky manage of this fatal brawl;
57
There lies the man, slain by young Romeo,
That slew thy kinsman, brave Mercutio.
LADY CAPULET
Tybalt, my cousin! O my brother's child!
O Mayor! O husband! O, the blood is spilled
Of my dear kinsman, Mayor, as thou art true,
[Looks up at the MAYOR in tears.]
For blood of ours, shed blood of Montague.
O cousin, cousin!
MAYOR
Benvolio, who began this bloody fray?
BENVOLIO
Tybalt, here slain, whom Romeo's hand did slayLADY CAPULET
He is a kinsman to the Montague,
Affection makes him false, he speaks not true:
I beg for justice, which thou, Mayor, must give:
Romeo slew Tybalt, Romeo must not live.
MAYOR
Romeo slew him, he slew Mercutio;
Who now the price of his dear blood doth owe?
LORD MONTAGUE
Not Romeo, Mayor, he was Mercutio's friend;
His fault concludes what the law should end,
The life of Tybalt.
MAYOR
And for that offence
Immediately we do exile him hence.
I have an interest in your heart's proceeding:
My blood for your rude brawls doth lie a-bleeding;
But I'll amerce you with so strong a fine
That you shall all repent the loss of mine.
I will be deaf to pleading and excuses,
Nor tears nor prayers shall purchase out abuses:
Therefore use none. Let Romeo hence in haste,
Else, when he is found, that hour is his last.
[The MAYOR leaves with his BODYGUARDS. The CROWD exits slowly as MEDICS
appear to carry away the bodies. Lights dim to BLACKOUT.
58
Act III
Scene 2
Setting: Juliet's balcony
Time: Monday, late afternoon
JULIET
[Lights come up on JULIET on her balcony, where she is pacing.]
Gallop apace, you fiery-footed steeds,
Toward Phoebus' lodging; such a waggoner
As Phaeton would whip you to the west;
And bring in cloudy night immediately.
Spread thy close curtain, love-performing Night,
That runaways' eyes may wink, and Romeo
Leap to these arms, untalked of and unseen:
Come, gentle Night, come, loving, black-browed Night,
Give me my Romeo, and when I shall die,
Take him and cut him out in little stars,
And he will make the face of heaven so fine
That all the world will be in love with night,
And pay no worship to the garish sun.
O, I have bought the mansion of a love,
But not possessed it, and though I am sold,
Not yet enjoyed. So tedious is this day
As is the night before some festival
To an impatient child that hath new robes
And may not wear them. O, here comes my Nurse,
[NURSE enters from upstage, crosses down the steps and up the steps toward JULIET'S
balcony. She looks very old. She reaches the steps leading up to the balcony, where
JULIET meets her and supports her as she almost collapses in JULIET'S arms. JULIET
helps the NURSE to the bench downstage on the Stage Right Extension.]
Now, Nurse, what news?
Why dost thou wring thy hands?
NURSE
He's dead, he's dead, he's dead!
We are undone, lady, we are undone.
Alack the day, he's gone, he's killed, he's dead!
O Romeo, Romeo!
Who ever would have thought it? Romeo!
JULIET
What devil art thou that dost torment me thus?
Hath Romeo slain himself?
NURSE
I saw the wound, I saw it with mine eyes.
A piteous corse, a bloody piteous corse.
59
JULIET
O break, my heart, break at once.
Vile earth, to earth resign, end motion here,
And thou and Romeo press one heavy bier!
NURSE
O Tybalt, Tybalt, the best friend I had!
O courteous Tybalt, honest gentleman,
That ever I should live to see thee dead!
JULIET
What storm is this that blows so contrary?
Is Romeo slaughtered? And is Tybalt dead?
My dearest cousin, and my dearer lord?
NURSE
Tybalt is gone and Romeo banished,
Romeo that killed him, he is banished.
JULIET
O God, did Romeo's hand shed Tybalt's blood?
NURSE
It did, it did, alas the day, it did!
JULIET
O serpent heart, hid with flowering face!
O damned saint, an honorable villain!
Was ever book containing such vile matter
So fairly bound? O that deceit should dwell
In such a gorgeous palace!
NURSE
There's no trust,
No faith, no honesty in men, all perjured.
Shame come to Romeo!
JULIET
Blistered be thy tongue
For such a wish! He was not born to shame:
Upon his brow shame is ashamed to sit!
O what a beast was I to chide at him!
NURSE
Will you speak well of him that killed your cousin?
JULIET
Shall I speak ill of him that is my husband?
Ah, poor lord, what tongue shall smooth thy name,
When I, thy three-hours wife, have mangled it?
NURSE
Hark ye, your Romeo will be here at night.
Hie to your chamber. I'll find Romeo
To comfort you, I wot well where he is.
I'll to him, he is hid at Lawrence's cell.
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JULIET
O find him! Give this ring to my true knight,
And bid him come to take his last farewell.
[Lights dim to BLACKOUT on JULIET and the NURSE.]
Act III
Scene 3
Setting: Friar Lawrence's cell
Time: Monday, early evening
[Lights come up on the STAGE LEFT EXTENSION, which is now the inside of FRIAR
LAWRENCE'S cell. The bench and flowers are gone. Stage Left is a desk with a
computer terminal and chair. Downstage, ROMEO is curled on the floor like a child.
We hear FRIAR LAWRENCE'S voice from inside.]
FRIAR LAWRENCE
Romeo, come forth, come forth thou fearful man:
Affliction is enamoured of thy parts,
And thou art wedded to calamity.
ROMEO
[Sits up as FRIAR LAWRENCE enters the room.]
Father, what news? What is the Mayor's doom?
What sorrow craves acquaintance at my hand,
That I yet know not?
FRIAR LAWRENCE
Too familiar
Is my dear son with such sour company!
I bring thee tidings of the Mayor's doom.
A gentler judgement vanished from his lips:
Not body's death, but body's banishment.
ROMEO
Ha, banishment? Be merciful, say "death":
For exile hath more terror in his look,
Much more than death. Do not say banishment.
FRIAR LAWRENCE
Hence from Verona art thou banished.
Be patient, for the world is broad and wide.
ROMEO
There is no world without Verona walls,
But purgatory, torture, hell itself:
Hence "banished" is banished from the world,
Calling death "banished,"
61
Thou cut'st my head off with a golden ax,
And smilest upon the stroke that murders me.
FRIAR LAWRENCE
O deadly sin! O rude unthankfulness!
Our law calls death, but the kind Mayor,
Taking thy part, hath rushed aside the law,
And turned that black word "death" to "banishment."
This is dear mercy, and thou seest it not.
ROMEO
'Tis torture, and not mercy. Heaven is here
Where Juliet lives, and every cat and dog
And little mouse, every unworthy thing,
Live here in heaven and may look on her,
But Romeo may not; he is banished.
And sayest thou that exile is not death?
FRIAR LAWRENCE
Let me dispute with thee.
ROMEO
Thou canst not speak of that thou dost not feel.
Wert thou as young as I, Juliet thy love,
An hour but married, Tybalt murdered,
Doting like me, and like me banished,
Then mightest thou speak, then mightest thou tear thy hair,
And fall upon the ground as I do now,
Taking the measure of an unmade grave.
[Enter NURSE behind the door and knock.]
FRIAR LAWRENCE
Arise, one knocks. Good Romeo, hide thyself.
[Knock]
Hark how they knock!-who's there?-Romeo, arise,
Thou wilt be taken.-Stay a while!-Stand up;
[Loud knock.]
Run to my study.-By and by!-God's will,
What simpleness is this?-I come, I come!
[Knock.]
Who knocks so hard! Whence come you? What's your will?
NURSE
Let me come in, and you shall know my errand:
I come from Lady Juliet.
FRIAR LAWRENCE
Welcome then.
[Goes out the door, and returns, ushering the NURSE through the door.]
NURSE
O holy Friar,
Where's my lady's lord? Where's Romeo?
62
FRIAR LAWRENCE
There on the ground, with his own tears made drunk.
NURSE
O he is even in my mistress' case,
Just in her case. Even so lies she,
Blubb'ring and weeping, weeping and blubb'ring,
Stand up, stand up, stand, if you be a man.
ROMEO
Spakest thou of Juliet? How is it with her?
Where is she? And how doth she?
And what says my lady?
NURSE
O she says nothing, sir, but weeps and weeps,
And now falls on her bed, and then starts up,
And Tybalt calls, and then on Romeo cries,
And then down falls again.
ROMEO
As that name's cursed hand,
Murdered her kinsman. O tell me, Friar, tell me,
In what vile part of this anatomy
Doth my name lodge? Tell me, that I may sack
The hateful mansion.
[Pulls out a knife and offers to stab himself, but NURSE snatches it away.]
FRIAR LAWRENCE
Hold thy desperate hand! Thy wild acts denote
The unreasonable fury of a beast. Thou hast amazed me.
Rouse thee, man! Thy Juliet is alive,
For whose dear sake thou wast but lately dead:
There thou art happy. Tybalt would kill thee,
But thou slewest Tybalt: there art thou happy.
The law that threatened death becomes thy friend,
And turns it to exile: there art thou happy.
A pack of blessings light upon thy back.
Go get thee to thy love as was decreed,
Ascend her chamber, hence and comfort her;
But look thou stay not till the Watch be set,
For then thou canst not pass to Mantua,
Where thou shalt live till we can find a time
To blaze your marriage, reconcile your friends,
Beg pardon of the Mayor, and call thee back
With twenty hundred thousand times more joy
Then thou went'st forth in lamentation.
Go before, Nurse, commend me to thy lady,
And bid her hasten all the house to bed,
Which heavy sorrow makes them apt unto.
Romeo is coming.
63
NURSE
Lord, I could have stayed here all the night
To hear good counsel. O, what learning is!
My lord, I'll tell my lady you will come.
ROMEO
Do so, and bid my sweet prepare.
NURSE
Here, sir, a ring she bid me give you, sir.
Hie you, make haste, for it grows very late.
ROMEO
How well my comfort is revived by this.
FRIAR LAWRENCE
Go hence, good night.
I'll signify from time to time
[THE FRIAR gestures toward the computer, referring to email.]
Every good hap to you that chances here.
'Tis late.
[FRIAR hugs ROMEO.]
Farewell, good night.
ROMEO
But that a joy past joy calls out on me,
It were a grief, so brief to part with thee:
Farewell.
[ROMEO leaves through the door as FRIAR LAWRENCE watches. Lights dim on the
STAGE LEFT EXTENSION to BLACKOUT.]
Act III
Scene 4
Setting: Lord Capulet's foyer
Time: Monday, late evening
[Lights come up on LORD CAPULET, who is standing on the STAGE RIGHT
EXTENSION in front of the balcony. PARIS stands to his right. Both have cigars in their
hands and brandy snifters. LADY CAPULET is standing downstage right-drinking a cup
of coffee. She is not involved in the conversation. Tension and grief pervade her face
and body. The men are deeply involved in a discussion.]
LORD CAPULET
Look you, she loved her kinsman Tybalt dearly,
And so did I. Well, we were born to die.
PARIS
These times of woe afford not time to woo.
Madam, good night, commend me to your daughter.
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LADY CAPULET
I will, and know her mind early tomorrow.
[PARIS turns stage left to leave, but LORD CAPULET
puts his hand on his shoulders, like a father.]
LORD CAPULET
Paris-I will make a desperate tender
Of my child's love: I think she will be ruled
In all respects by me; Nay more, I doubt it not.
Wife, go to her ere you go to bed,
Acquaint her here of my son Paris' love,
And bid her-mark you me?-on Wednesday nextBut soft, what day is this?
PARIS
Monday, my lord.
LORD CAPULET
Monday, ha, ha. Well, Wednesday is too soon,
On Thursday let it be-on Thursday tell her,
She shall be married to this noble earl.
Will you be ready? Do you like this haste?
Well, keep no great ado-a friend or two,
For hark you, Tybalt being slain so late,
It may be thought we held him carelessly,
Being our kinsman, if we revel too much;
Therefore we'll have some half a dozen friends,
And there an end. But what say you to Thursday?
PARIS
My lord, I would that Thursday were tomorrow.
LORD CAPULET
Well, get you gone, on Thursday be it then.
Farewell, my lord.
Good night.
[Exit all upstage right.]
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Act III
Scene 5
Setting: Juliet's bedroom
Time: Tuesday, early morning
[In the BLACKOUT, a window frame flies into the center of the MAIN STAGE. Upstage
of it, JULIET'S bed is pushed forward. We hear the sound of birds, and sunlight slowly
lights up the MAIN STAGE. JULIET is sitting up in bed, the covers around her, watching
ROMEO as he is standing, buttoning his shirt. She sits up and the covers fall away. She
is in a bright red nightgown, which covers a white slip below it. It is obvious the
marriage has been consummated. ROMEO goes to the front of the MAIN STAGE and
looks out, as if out of a window. Behind him, JULIET watches him, a pout on her face.]
JULIET
Wilt thou be gone? It is not yet near day:
It was the nightingale, and not the lark,
That pierced the fearful hollow of thine ear.
ROMEO
It was the lark, the herald of the morn,
No nightingale. Look love, what envious streaks
Do lace the severing clouds in yonder east.
I must be gone and live, or stay and die.
JULIET
Yond light is not daylight, I know it.
Stay yet, thou need'st not be gone.
ROMEO
[Runs back to her and leaps on the bed, covering her and kissing her.]
Let me be tane, let me be put to death,
I am content, so thou wilt have it so.
I have more care to stay than will to go:
Come, death, and welcome! Juliet wills it so.
It is not day.
JULIET
[Sitting up and pushing ROMEO away and off the bed. She comes forward and looks out
the window, then turns back to him.]
It is, it is, hie hence, be gone, away!
It is the lark that sings so out of tune,
O now be gone, more light and light it grows.
ROMEO
More light and light, more dark and dark our woes!
[Enter NURSE, hastily]
NURSE
Madam!
JULIET
Nurse?
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NURSE
Your lady mother is coming to your chamber.
The day is broke, be wary, look about.
[NURSE exits.]
JULIET
Then, window, let day in, and let life out.
ROMEO
Farewell, farewell! One kiss, and I'll descend.
[He exits by way of a step stage left. JULIET calls to him, and he stops, just at the steps.]
JULIET
Art thou gone so, love, lord, aye husband, friend?
I must hear from thee every day.
ROMEO
[From the back.]
Farewell!
I will omit no opportunity
That may convey my greetings, love, to thee.
JULIET
O think'st thou that we shall ever meet again?
ROMEO
[Comes back up the aisle.]
I doubt it not, and all these woes shall serve
For sweet discourses in our times to come. Adieu.
[ROMEO turns and exits out the back of the AUDITORIUM.]
JULIET
[Speaks to the AUDIENCE.]
O God, I have an ill-divining soul!
Methinks I see thee now, thou art so low,
As one dead in the bottom of a tomb.
[Enter LADY CAPULET upstage right.]
LADY CAPULET
Ho, daughter, are you up?
Why how now, Juliet?
JULIET
Madam, I am not well.
LADY CAPULET
Evermore weeping for your cousin's death?
What, wilt thou wash him from his grave with tears?
Have done. Some grief shows much of love,
But much of grief shows still some want of wit.
JULIET
Yet let me weep for such a feeling loss.
LADY CAPULET
Well, girl, thou weep'st not so much for his death.
I'll tell thee joyful tidings, girl.
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JULIET
And joy comes well in such a needy time.
What are they, beseech your ladyship?
LADY CAPULET
Well, well, thou hast a careful father, child,
One who, to put thee from thy heaviness,
Hath sorted out a sudden day of joy,
That thou expects not, nor I looked not for.
JULIET
Madam, in happy time, what day is that?
LADY CAPULET
Marry, my child, early next Thursday morn,
The gallant, young, and noble gentleman,
Paris, at Saint Peter's Church,
Shall happily make thee there a joyful bride.
JULIET
Now by Saint Peter's Church and Peter too,
He shall not make me there a joyful bride.
I wonder at this haste.
I pray you tell my lord and father, madam,
I will not marry yet, and when I do, I swear
It shall be Romeo, whom you know I hate,
Rather than Paris.
LADY CAPULET
Here comes your father, tell him so yourself;
And see how he will take it at your hands.
[Enter LORD CAPULET and the NURSE upstage right. JULIET falls back on the bed,
crying like a child.]
LORD CAPULET
How now, girl? What, still in tears?
How now, wife,
Have you delivered to her our decree?
LADY CAPULET
Aye, sir, but she will none, she gives you thanks.
I would the fool were married to her grave.
LORD CAPULET
How, will she none? Doth she not give us thanks?
Doth she not count her blest,
Unworthy as she is, that we have wrought
So worthy a gentleman to be her bride?
JULIET
[Turns to him and looks up at him trustingly.]
Not proud you have, but thankful that you have:
Proud I can never be of what I hate,
But thankful even for hate that is meant love.
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LORD CAPULET
[Explosively angry and sarcastic-mimics her at times.]
How how, how how, chopt-logic? What is this?
"Proud" and "I thank you" and "I thank you not",
And yet "not proud", mistress minion you?
Thank me no thankings, nor proud me no prouds,
But fettle your fine joints 'gainst Thursday next,
To go with Paris to Saint Peter's Church,
Or I will drag thee on a hurdle thither.
Out, you green-sickness carrion! Out, you baggage!
You tallow-face!
LADY CAPULET
Fie, fie, what, are you mad?
JULIET
[kneels]
Good father, I beseech you on my knees.
Hear me with patience but to speak a word.
LORD CAPULET
Hang thee, young baggage, disobedient wretch!
I tell thee what: get thee to church on Thursday,
Or never after look me in the face.
Speak not, reply not, do not answer me!
My fingers itch. Wife, we scarce thought us blest
That God had lent us but this only child,
But now I see this one is one too much,
And that we have a curse in having her.
Out on her!
[Acts as though he will strike her. NURSE intervenes.]
NURSE
God in heaven bless her!
You are to blame, my lord, to rate her so.
LORD CAPULET
And why, my Lady Wisdom! Hold your tongue,
Good Prudence, smatter with your gossips, go.
NURSE
I speak no treason.
NURSE
May not one speak?
LORD CAPULET
Peace, you mumbling fool!
Utter your gravity o'er a gossip's bowl,
For here we need it not.
LADY CAPULET
You are too hot.
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LORD CAPULET
God's bread, it makes me mad! Day, night, work, play,
Alone, in company, still my care hath been
To have her matched; and having now provided
A gentleman of noble parentage,
And then to have a wretched puling fool,
To answer "I'll not wed, I cannot love;
I am too young, I pray you pardon me."
But and you will not wed, I'll pardon you:
Look to't, think on't, I do not jest.
Thursday is near, lay hand on heart, advise:
And you be mine, I'll give you to my friend;
And you be not, hang, beg, starve, die in the streets,
For by my soul, I'll ne'er acknowledge thee,
Nor what is mine shall never do thee good.
Trust to't, bethink you, I'll not be forsworn.
[LORD CAPULET storms out upstage right.]
JULIET
[JULIET turns to her mother imploringly.]
Is there no pity sitting in the clouds.
That sees into the bottom of my grief!
O sweet my mother, cast me not away!
Delay this marriage for a month, a week,
Or if you do not, make the bridal bed
In that dim monument where Tybalt lies.
LADY CAPULET
Talk not to me, for I'll not speak a word.
Do as thou wilt, for I have done with thee.
[LADY CAPULET exits.]
JULIET
O God! - O Nurse, how shall this be prevented?
Comfort me, counsel me.
Alack, alack, that heaven should practice stratagems
Upon so soft a subject as myself!
What say'st thou? Hast thou not a word of joy?
Some comfort, Nurse.
NURSE
Faith, here it is:
Romeo is banished, and all the world to nothing
That he dares ne'er come back to challenge you;
Or if he do, it needs must be by stealth.
Then since the case so stands as now it doth,
I think it best you married Paris.
O, he's a lovely gentleman!
Romeo's a dishcloth to him.
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I think you are happy in this second match,
For it excels your first, or if it did not,
Your first is dead, or 'twere as good he were
As living here and you no use of him.
JULIET
Speak'st thou from thy heart?
NURSE
And from my soul too, else beshrew them both.
JULIET
Amen.
NURSE
What?
JULIET
Well, thou hast comforted me marvelous much.
Go in, and tell my lady I am gone,
Having displeased my father, to Lawrence's cell,
To make confession and to be absolved.
NURSE
Marry, I will, and this is wisely done.
[NURSE looks at her unbelievingly and then exits upstage right.]
JULIET
Ancient damnation! O most wicked fiend!
Is it more sin to wish me thus forsworn,
Or to dispraise my lord with that same tongue
Which she hath praised him with above compare
So many thousand times? Go, counsellor,
Thou and my bosom henceforth shall be twain.
I'll to the Friar to know his remedy;
If all else fail, myself have power to die.
Act IV
Scene 1
Setting: Friar Lawrence's cell
Time: Tuesday, noon
[In the darkness, we hear the BAND begin the strains of another song and a solitary
light comes up slowly on the downstage end of the thrust stage. The stage is bare.
Upstage on the STAGE RIGHT EXTENSION, we see Paris standing, frozen, just inside
the door of the FRIAR'S cell. Downstage on the thrust, the CLOWN is sitting-dressed in
her simple, original outfit, and looking at the ground. She looks up, and delivers the
following lines with almost no emotion.]
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From forth the fatal loins of these two foes
A pair of star-crossed lovers take their life;
Whose misadventured piteous overthrows,
Doth with their death bury their children's strife.
[As soon as the CLOWN has spoken these lines, she turns and heads over towards
PARIS, her body morphing into that of an older man. An ALTAR GIRL appears midway
and helps the CLOWN into the FRIAR'S robe. The FRIAR then walks across and joins
PARIS. As the FRIAR speaks, PARIS comes alive.]
FRIAR LAWRENCE
On Thursday, sir? The time is very short.
PARIS
My father Capulet will have it so,
And I am nothing slow to slack his haste.
FRIAR LAWRENCE
You say you do not know the lady's mind?
Uneven is the course, I like it not.
PARIS
Immoderately she weeps for Tybalt's death,
And therefore have I little talked of love.
Now, sir, her father counts it dangerous
That she do give her sorrow so much sway;
And in his wisdom hastes our marriage
To stop the inundation of her tears.
FRIAR LAWRENCE
[Aside to the AUDIENCE.]
I would I knew not why it should be slowed.Look, sir, here comes the lady toward my cell.
[JULIET enters through the FRIAR'S curtained door.]
PARIS
Happily met, my lady and my wife!
JULIET
That may be, sir, when I may be a wife.
PARIS
That "may be" must be, love, on Thursday next.
JULIET
What must be shall be.
FRIAR LAWRENCE
That's a certain text.
PARIS
Come you to make confession?
JULIET
Are you at leisure, holy father, now,
Or shall I come to you at evening mass?
FRIAR LAWRENCE
My leisure serves me, pensive daughter, now.
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My lord, we must entreat the time alone.
PARIS
God shield I should disturb devotion!
Juliet, on Thursday early will I rouse ye:
Till then adieu, and keep this holy kiss.
[PARIS kisses her on the forehead and exits.]
JULIET
O shut the door, and when thou hast done so,
Come weep with me, past hope, past cure, past help!
FRIAR LAWRENCE
[FRIAR takes her in his arms.]
O Juliet, I already know thy grief,
It strains me past the compass of my wits.
I hear thou must, and nothing may postpone it,
On Thursday next be married to this County.
JULIET
[JULIET pulls away from him and goes
downstage, facing the AUDIENCE.]
Tell me not, Friar, that thou hearest of this,
Unless thou tell me how I may prevent it.
If in thy wisdom thou canst give no help,
Do thou but call my resolution wise,
[JULIET turns and shows knife.]
And with this knife I'll help it presently.
Be not so long to speak, I long to die,
If what thou speak'st speak not of remedy.
FRIAR LAWRENCE
Hold, daughter, I do spy a kind of hope,
Which craves as desperate an execution
[FRIAR moves slowly towards her and takes knife away as he speaks.]
As that is desperate which we would prevent.
If, rather than to marry County Paris,
Thou hast the strength of will to slay thyself,
Then is it likely thou wilt undertake
A thing like death to chide away this shame.
And if thou dar'st, I'll give thee remedy.
JULIET
O bid me leap, rather than marry Paris,
From off the battlements of any tower,
Or bid me go into a new-made grave,
And hide me with a dead man in his shroudThat I will do without fear or doubt,
To live an unstained wife to my sweet love.
FRIAR LAWRENCE
Hold then, go home, be merry, give consent
To marry Paris. Wednesday is tomorrow;
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Tomorrow night look that thou lie alone.
Take thou this vial, being then in bed,
And this distilling liquor drink thou off,
When presently through all thy veins shall run
A cold and drowsy humor;
No pulse, no warmth, no breath shall testify thou livest;
Each part shall stiff and stark and cold appear like death,
And in this borrowed likeness of shrunk death
Thou shalt continue two and forty hours.,
Now when the bridegroom in the morning comes
To rouse thee from thy bed, there art thou dead.
Then as the manner of our country is,
In thy best robes, uncovered on the bier,
Thou shall be borne to that same ancient vault
Where all the kindred of the Capulets lie.
In the mean time, against thou shalt awake,
[THE FRIAR goes to the computer and sits down, continuing to talk to JULIET. The
SCREENS shift to email, and he begins typing an email.]
Shall Romeo by my letters know our drift,
And hither shall he come, and he and I
Will watch thy waking, and that very night
Shall Romeo bear thee hence to Mantua.
JULIET
Give me, give me! O tell me not of fear.
FRIAR LAWRENCE
[THE FRIAR turns and hands the vial to JULIET.]
Hold, get you gone, be strong and prosperous
In this resolve; I'll send with speed
To Mantua, a letter to thy lord.
JULIET
Love give me strength, and strength shall help afford.
Farewell, dear father.
[Lights dim down as JULIET leaves and FRIAR LAWRENCE continues to type his
email.]
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Act IV
Scene 2
Setting: Capulet's foyer
Time: Tuesday, late afternoon
[Lights come up on the STAGE RIGHT EXTENSION where LORD and LADY
CAPULET are giving orders to GREGORY and the NURSE.]
LORD CAPULET
So many guests invite as here are writ.
Then go and hire twenty cunning cooks.
GREGORY
You shall have none ill, sir, for I'll try if they can lick their fingers.
LORD CAPULET
How canst thou try them so?
GREGORY
Marry, sir, 'tis an ill cook that cannot lick his own fingers; therefore, he that cannot lick
his fingers goes not with me.
LORD CAPULET
Go, be gone.
[Exit GREGORY.]
We shall be much unfurnished for this time.
What, is my daughter gone to Friar Lawrence?
NURSE
Aye.
LORD CAPULET
Well, he may chance to do some good on her.
[Enter JULIET stage left across the MAIN STAGE.]
NURSE
See where she comes with merry look.
LORD CAPULET
How now, my headstrong, where have you been gadding?
JULIET
Where I have learnt me to repent the sin
Of disobedient opposition
To you and your behests, and am enjoined
By holy Lawrence to fall prostrate here
To beg your pardon.
[kneels]
Pardon, I beseech you!
Henceforward I am ever ruled by you.
LORD CAPULET
Send for the County, go tell him of this.
I'll have this knot knit up tomorrow morning.
JULIET
I met the youthful lord at Lawrence's cell,
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And gave him what becomed love I might
Not stepping over the bounds of modesty.
LORD CAPULET
Why, I am glad on't, this is well, stand up.
This is as't should be. Let me see the County;
Aye, marry, go, I say, and fetch him hither.
Now afore God, this reverend holy Friar,
All our whole city is much bound to him.
JULIET
Nurse, will you go with me into my closet,
To help me sort such needful ornaments
As you think fit to furnish me tomorrow?
NURSE
No, not till Thursday, there is time enough.
LORD CAPULET
Go, Nurse, go with her, we'll to church tomorrow.
[Exit JULIET and NURSE up the steps of the BALCONY.]
LADY CAPULET
We shall be short in our provision,
'Tis now near night.
LORD CAPULET
Tush, I will stir about,
And all things shall be well, I warrant thee, wife:
Go thou to Juliet, help to deck up her;
I'll not to bed tonight; let me alone,
I'll play the housewife for this once. What ho!
They are all forth. Well, I will walk myself
To County Paris, to prepare up him
Against tomorrow. My heart is wondrous light,
Since this same wayward girl is so reclaimed.
[Lights go down on STAGE RIGHT EXTENSION as both LADY CAPULET and LORD
CAPULET exit.]
Act IV
Scene 3
Setting: Juliet's bedroom
Time: Tuesday, late evening
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[Lights come up on MAIN STAGE where the NURSE is packing clothes into a suitcase.
She is almost finished. JULIET is sitting on the bed.]
JULIET
Aye, those attires are best, but, gentle Nurse,
I pray thee leave me to myself tonight:
For I have need of many orisons
To move the heavens to smile upon my state,
Which, well thou knowest, is cross and full of sin.
[THE NURSE closes the suitcase and places it against the wall as LADY CAPULET
enters the bedroom.]
LADY CAPULET
What, are you busy, ho? Need you my help?
JULIET
No, madam, we have culled such necessaries
As are required for our state tomorrow.
So please you, let me now be left alone,
And let the Nurse this night sit up with you,
For I am sure you have your hands full all,
In this so sudden business.
LADY CAPULET
Good night.
Get thee to bed and rest, for thou hast need.
[Exit LADY CAPULET and the NURSE. JULIET watches them go, and then sits down on
the bed. We hear the beginning strains of music, which will play under this scene.]
JULIET
Farewell! God know when we shall meet again.
I have a faint cold fear thrills through my veins
That almost freezes up the heat of life:
I'll call them back again to comfort me.
Nurse! - What should she do here?
My dismal scene I needs must act alone.
Come vial.
What if this mixture do not work at all?
Shall I be married then tomorrow morning?
No, no, this shall forbid it; lie thou there.
[Laying down her dagger.]
What if it be a poison which the Friar
Subtly hath ministered to have me dead,
Lest in this marriage he should be dishonored,
Because he married me before to Romeo?
I fear it is, and yet methinks it should not,
For he hath still been tried a holy man.
How if, when I am laid into the tomb,
I wake before the time that Romeo
Come to redeem me? There's a fearful point!
Shall I not then be stifled in the vault,
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To whose foul mouth no healthsome air breathes in,
And there die strangled ere my Romeo comes?
Or if I live, is it not very like
The horrible conceit of death and night,
Together with the terror of the placeAs in a vault, an ancient receptacle,
Where for this many hundred years the bones
Of all my buried ancestors are packed,
Where bloody Tybalt, yet but green in earth,
Lies festering in his shroud, where, as they say,
At some hours in the night spirits resortO, if I wake, shall I not be distraught,
Environed with all these hideous fears,
And madly play with my forefathers joints,
And pluck the mangled Tybalt from his shroud,
And in this rage, with some great kinsman's bone,
As with a club, dash out my desp'rate brains.
O look! Methinks I see my cousin's ghost
Seeking out Romeo that did spit his body
Upon a rapier's point. Stay Tybalt, stay!
Romeo, Romeo, Romeo! Here's drink-I drink to thee.
[She falls upon the bed.]
Act IV
Scene 4
Setting: Capulet's mansion
Time: Wednesday, early morning
[Lights come up on the DOWNSTAGE THRUST, as people enter, hurried and busy,
crossing back and forth with preparations. No one notices the bed, which is lit dimly, or
JULIET lying in plain sight. Instead they hurry past her still busy with preparations.
People look very tired, as from a long night's work. LADY CAPULET and the NURSE
enter DOWNSTAGE on the THRUST and are talking as SERVANTS bustle across the
stage in the background, carrying dishes of food and household necessaries for the
honeymoon trip.]
LADY CAPULET
Hold, take these keys and fetch more spices, Nurse.
NURSE
They call for dates and quinces in the pastry.
[Exit both the NURSE and LADY CAPULET. There is a moment of silence, and then
LORD CAPULET enters.]
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LORD CAPULET
Good faith, 'tis day.
The County will be here.
Nurse! Wife! What ho! What, Nurse, I say!
[Enter Nurse.]
Go waken Juliet, go and trim her up,
I'll go and chat with Paris. Hie, make haste,
Make haste, the bridegroom he is come already,
Make haste, I say.
[Lights dim down to BLACKOUT as everyone exits.]
Act IV
Scene 5
Setting: Juliet's bedroom
Time: Wednesday, early morning
[Lights come up on the MAIN STAGE with JULIET'S bed and her body in the same
position as she was when she took the potion. NURSE enters.]
NURSE
Juliet! Why lamb! Why, lady!
What, not a word?
How sound is she asleep!
I needs must wake her.
[Draws back the curtains and discovers JULIET.]
What, dressed, and in your clothes, and down again?
I must needs wake you.
Alas! Help! My lady's dead!
My lord! my lady!
[Enter LADY CAPULET.]
LADY CAPULET
What noise is here?
NURSE
O lamentable day!
LADY CAPULET
What is the matter?
NURSE
Look, look! O heavy day!
LADY CAPULET
O me, O me, my child, my only life!
Revive, look up, or I will die with thee.
Help, help! Call help!
[Enter LORD CAPULET.]
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LORD CAPULET
For shame, bring Juliet forth, her lord is come.
NURSE
She's dead, deceased, she's dead, alack the day!
LORD CAPULET
Hah, let me see her. Out alas, she's cold,
Her blood is settled, and her joints are stiff:
Life and these lips have long been separated;
Death lies on her like an untimely frost
Upon the sweetest flower of all the field.
NURSE
O lamentable day!
LADY CAPULET
O woeful time!
LORD CAPULET
Death that hath taken her hence to make me wail
Ties up my tongue and will not let me speak.
[Enter FRIAR LAWRENCE and PARIS.]
FRIAR LAWRENCE
Come, is the bride ready to go to church?
[The following lines all take place at the same time, creating confusion.]
LORD CAPULET
Ready to go, but never to return.
Death is my heir;
My daughter he hath wedded. I will die,
And leave him all. Life, living, all is Death's.
PARIS
Have I thought long to see this morning's face,
And doth it give me such a sight as this?
LADY CAPULET
Accursed, unhappy, wretched, hateful day!
NURSE
O woe! O woeful, woeful, woeful day!
LORD CAPULET
My child is dead,
And with my child my joys are buried.
FRIAR LAWRENCE
Peace ho, for shame.
[There is dead silence.]
Confusion's cure lives not
In these confusions. Heaven and yourself
Had part in this fair maid, now heaven hath all,
And all the better is it for the maid.
And weep ye now, seeing she is advanced
Above the clouds, as high as heaven itself.
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LORD CAPULET
All things that we ordained festival,
Turn from their office to black funeral.
Our instruments to melancholy bells,
Our wedding cheer to a sad burial feast;
Our solemn hymns to sullen dirges change;
Our bridal flowers serve for a buried corpse;
And all things change them to the contrary.
FRIAR LAWRENCE
Sir, go you in, and, madam, go with him,
And go, Sir Paris. Every one prepare
To follow this fair corpse unto her grave.
The heavens do low'r upon you for some ill;
Move them no more by crossing their high will.
[Lights dim to BLACKOUT as ALL exit. The bed is pulled offstage.]
Act V
Scene 1
Setting: A street in Mantua
Time: Wednesday, early evening
[A solitary light comes up on the CLOWN, who is standing upstage on a platform. Light
comes up on ROMEO below him, who is sitting in a chair at an outside cafe in front of
his laptop computer, typing poetry. The lighting is strange, much like the lighting of the
Queen Mab scene. We hear strains of music once again, which play underneath the
following scene. After watching ROMEO for awhile, she sits down at the top of the first
step and delivers the following lines.]
The fearful passage of their death-marked love,
And the continuance of their parents' rage,
Which but their children's end nought could remove,
Is now the two-hour traffic of our stage.
[The lights remain the same, and the CLOWN simply turns and leaves as ROMEO prints
out his poem and comes out toward the audience, reading them as he walks. He reads
aloud the lines he has just written, as if they are his latest poem. He seems pleased.]
ROMEO
If I may trust the flattering truth of sleep,
My dreams foretell some joyful news at hand.
I dreamt my lady came and found me dead
(Strange dream that gives a dead man leave to think!)
And breathed such life with kisses in my lips
That I revived and was an emperor.
Ah me, how sweet is love itself possessed;
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When but love's shadows are so rich in joy!
[Enter BALTHASAR in trench coat.]
News from Verona! How now, Balthasar?
How doth my lady? Is my father well?
How doth my Juliet? That I ask again,
For nothing can be ill if she be well.
BALTHASAR
Then she is well and nothing can be ill:
Her body sleeps in Capels' monument,
And her immortal part with angels lives.
I saw her laid low in her kindred's vault,
And presently took post to tell it you.
O pardon me for bringing these ill news,
Since you did leave it for my office, sir.
ROMEO
Is it e'en so? Then I defy you, stars!
Thou knowest my lodging, get me ink and paper,
I will hence tonight.
BALTHASAR
I do beseech you, sir, have patience:
Your looks are pale and wild, and do import
Some misadventure.
ROMEO
Thou are deceived.
Leave me, and do the thing I bid thee do.
[He sits down at the computer again, and we see him checking his email on the screens.
BALTHASAR watches him, worried.]
No letters to me from the Friar?
[He finds nothing, and then he turns to see
BALTHASAR still watching him.]
No matter, get thee gone.
I'll be with thee straight.
[Exit BALTHASAR down the steps and back out of the AUDITORIUM.]
Well, Juliet, I will lie with thee tonight.
Let's see for means.
I do remember an apothecary,
[Goes down the steps and over to the STAGE LEFT EXTENSION, stopping in front of the
door.]
In tattered weeds, with overwhelming brows,
Meager were her looks,
Sharp misery had worn her to the bones;
As I remember, this should be the house.
What ho, apothecary!
MABEL
Who calls so loud?
[APOCATHARY comes out of the door, blinking in the light.]
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ROMEO
Come hither. I see that thou art poor.
Hold, there is seven hundred; let me have
An ounce of poison, such soon-speeding gear
As will disperse itself through all the veins,
That the life-weary taker may fall dead,
As violently as hasty powder fired
Doth hurry from the fatal cannon's womb.
MABEL
Such mortal drugs I have, but Mantua's law
Is death to any he that utters them.
ROMEO
Art thou so bare and full of wretchedness,
And fearest to die? Famine is in thy cheeks,
Need and oppression starveth in thy eyes.
The world is not thy friend, nor the world's law,
The world affords no law to make thee rich;
Then be not poor, but break it and take this.
MABEL
My poverty, but not my will, consents.
[Disappears back inside.]
ROMEO
I pay thy poverty and not thy will.
MABEL
[APOCATHARY appears in door once again, looking around her anxiously, delivering
the lines in a stage whisper.]
Put this in any liquid thing you will
And drink it off, and if you had the strength
Of twenty men, it would dispatch you straight.
ROMEO
There is thy cash.
Farewell, buy food, and get thyself in flesh.
[Exit APOTHECARY offstage back through the door upstage left.]
Come cordial and not poison, go with me
To Juliet's grave, for there must I use thee.
[ROMEO runs down the steps and back the aisle out of the AUDITORIUM. Lights and
music dim down.]
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Act V
Scene 2
Setting: Friar Lawrence's cell
Time: Wednesday, late evening
[Lights come up on FRIAR LAWRENCE, who enters his cell and sits down at the
computer. We see his work on the screens as he brings up his email. He clicks on a
letter that is flashing.]
FRIAR LAWRENCE
What says Romeo?
[He realizes it is a returned letter from Daemon Mailer.]
I could not send it-here it is againUnhappy fortune! By my brotherhood,
The letter was not nice but full of charge,
Of dear import, and the neglecting it
May do much danger.
[FRIAR gets up and prepares to head out the door.]
Now must I to the monument alone,
Within this three hours will fair Juliet wake.
She will beshrew me much that Romeo
Hath had no notice of these accidents;
[THE FRIAR sits back down and opens another letter, beginning to write.]
But I will write again to Mantua,
And keep her at my cell till Romeo come,
Poor living corpse, closed in a dead man's tomb!
[Lights dim to BLACKOUT on the Friar as he writes.]
Act V
Scene 3
Setting: Outside the tomb of the Capulets
Time: Wednesday, late night
[In the darkness, three casket-like platforms with dead bodies lying on top of them are
placed on the DOWNSTAGE THRUST. One bier is placed at the bottom end of the
downstage thrust, set apart. On the bier at the center of the downstage thrust, JULIET
lies, dressed in white and covered with a white veil. After everything is set, a light comes
up on her dimly. At the back of the AUDITORIUM, a light picks up PARIS and his AIDE,
JOHN, as they enter, carrying flowers, water and a flashlight. They stop at the foot of
the stairs leading onto the MAIN STAGE.]
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PARIS
Give me thy torch, boy. Hence, and stand aloof.
Yet put it out, for I would not be seen.
Under yond yew trees lay thee all along,
Holding thy ear close to the hollow ground.
Whistle then to me
As signal that thou hear'st something approach.
Give me those flowers. Do as I bid thee, go.
JOHN
[Aside to the AUDIENCE.]
I am almost afraid to stand alone
Here in the churchyard, yet I will adventure.
[Retires upstage left and hides.]
PARIS
[Strews flowers in front of the steps.]
Sweet flower, with flowers thy bridal bed I strewO woe, thy canopy is dust and stones! Which with sweet water nightly I will dew,
[JOHN whistles.]
The boy gives warning, something doth approach.
What cursed foot wanders this way tonight,
To cross my obsequies and true love's rite?
What, with a torch? Muffle me, night, a while.
[PARIS hides upstage left in the aisle. Enter ROMEO and BALTHASAR with a torch, a
mattock, and a crow of iron. They go to the same spot that PARIS has left the flowers.]
ROMEO
Give me that mattock and wrenching iron.
Hold, take this letter; early in the morning
See thou deliver it to my lord and father.
Give me the light. Upon thy life I charge thee,
Whate'er thou hear'st or seest, stand all aloof,
And do not interrupt me in my course.
But if thou, jealous, dost return to pry
In what I farther shall intend to do,
By heaven, I will tear thee joint by joint,
And strew this hungry churchyard with thy limbs.
The time and my intents are savage-wild,
More fierce and more inexorable far
Than empty tigers or the roaring sea.
BALTHASAR
I will be gone, sir, and not trouble ye.
ROMEO
So shalt thou show me friendship. Take thou that,
[Gives a purse]
Live and be prosperous, and farewell, good fellow.
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BALTHASAR
[Aside to the audience.]
For all this same, I'll hide me hereabout,
His looks I fear, and his intents I doubt.
[Retires to the back of the AUDITORIUM, stage right, and hides.]
ROMEO
Thou detestable maw, thou womb of death,
Gorged with the dearest morsel of the earth,
Thus I enforce thy rotton jaws to open,
And in despite I'll cram thee with more food.
[ROMEO begins to set down his tools. Lights come up on PARIS, who begins his aside to
the AUDIENCE as ROMEO
begins to work without seeing him.]
PARIS
This is that banished haughty Montague,
That murdered my love's cousin, with which grief,
It is supposed the fair creature died,
And here is come to do some villainous shame
To the dead bodies. I will apprehend him.
[Steps forth and draws his sword, to ROMEO'S astonishment, who also grabs his sword.]
PARIS
Stop thy unhallowed toil, vile Montague!
Can vengeance be pursued further than death?
Condemned villain, I do apprehend thee.
Obey and go with me, for thou must die.
ROMEO
I must indeed, and therefore came I hither.
Good gentle youth. Tempt not a desp'rate man,
I beseech thee, youth,
Put not another sin upon my head,
By urging me to fury.
PARIS
I do defy thy conjuration,
And apprehend thee for a felon here.
ROMEO
Wilt thou provoke me? [Draws his own sword.]
Then have at thee, boy!
[They fight.]
JOHN
[Light comes up on him as he speaks.]
O Lord, they fight! I will go call for help.
PARIS
[ROMEO dispatches of PARIS easily, almost embarrassingly so.]
O, I am slain! [Falls.] If thou be merciful,
Open the tomb, lay me with Juliet. [Dies.]
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ROMEO
In faith, I will. Let me peruse this face.
Mercutio's kinsman, noble County Paris!
I'll bury thee in a triumphant grave.
[Drags PARIS up the steps of the opened tomb.]
For here lies Juliet, and her beauty makes
This vault a feasting presence full of light.
Death, lie thou there, by a dead man interred.
[Laying Paris in front of JULIET'S bier. The music of "Valentine"
begins, underscoring the words following.]
O my love, my wife,
Death, that hath sucked the honey of thy breath,
Hath had no power yet upon thy beauty:
Thou art not yet conquered, beauty's ensign yet
Is crimson in thy lips and in thy cheeks,
And Death's pale flag is not advanced there.
Ah, dear Juliet,
Why art thou yet so fair? Shall I believe
That unsubstantial Death is amorous,
And that the lean abhorred monster keeps
Thee here in dark to be his paramour?
For fear of that, I still will stay with thee,
And never from this palace of dim night
Depart again.
Eyes, look your last!
Arms, take your last embrace! And, lips,
Seal with a righteous kiss
Here's to my love!
[Drinks.]
O true apothecary!
Thy drugs are quick. Thus with a kiss I die.
[ROMEO dies. Music comes to a sudden stop as FRIAR LAWRENCE enters with
lantern, crow and spade from the back of the AUDITORIUM, stage left.]
FRIAR LAWRENCE
Saint Francis be my speed! How oft tonight
Have my old feet stumbled at graves! Who's there?
BALTHASAR
Here's one, a friend, and one that knows you well.
FRIAR LAWRENCE
Bliss be upon you! Tell me, good my friend,
What torch is yond that vainly lends his light
To grubs and eyeless skulls? As I discern,
It burneth in the Capel's monument.
BALTHASAR
It doth so, holy sir, and there's my master,
One that you love.
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FRIAR LAWRENCE
Who is it?
BALTHASAR
Romeo
FRIAR LAWRENCE
How long hath he been there?
BALTHASAR
Full half an hour.
FRIAR LAWRENCE
Go with me to the vault.
BALTHASAR
I dare not, sir.
My master knows not but I am gone hence,
And fearfully did menace me with death
If I did stay to look on his intents.
FRIAR LAWRENCE
Stay then, I'll go alone. Fear comes upon me.
O, much I fear some ill unthrifty thing.
BALTHASAR
As I did sleep under this yew tree here,
I dreamt my master and another fought,
And that my master slew him.
FRIAR LAWRENCE
Romeo!
[Friar runs up the aisle toward the stage and
stoops over the entrance to the tomb.]
What blood is this which stains
The stony entrance of this sepulchre?
What mean these masterless and gory swords
To lie discolored by this place of peace?
[Goes up the steps into the tomb.]
Romeo! O, pale! Who else? What, Paris too?
And steeped in blood? Ah, what an unkind hour
Is guilty of this lamentable chance!
[He sees JULIET begins to awaken.]
The lady stirs.
JULIET
O comfortable Friar, where is my lord?
I do remember well where I should be;
And there I am. Where is my Romeo?
[Noises come from the back of the AUDITORIUM.]
FRIAR LAWRENCE
I hear some noise, lady. Come from that nest
Of death, contagion, and unnatural sleep.
A greater power than we can contradict
Hath thwarted our intents. Come, come away.
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Thy husband in thy bosom there lies dead;
And Paris too. Come, I'll dispose of thee
Among a sisterhood of holy nuns.
Stay not to question.
Come go, good Juliet, I dare no longer stay.
JULIET
Go get thee hence, for I will not away.
[FRIAR exits down the steps and out the stage left AUDITORIUM door.]
What's here? A cup closed in my true lover's hand?
Poison I see hath been his timeless end.
O churl, drunk all, and left no friendly drop
To help me after? I will kiss thy lips,
Haply some poison yet doth hang on them,
To make me die with a restorative.
Thy lips are warm.
CAPTAIN
[At the back door of the AUDITORIUM.]
Which way?
JULIET
Yea, noise? Then I'll be brief. O happy dagger,
[Taking ROMEO'S dagger.]
This is thy sheath;
[Stabs herself]
there rust and let me d[She falls on ROMEO'S body and dies. Enter JOHN and
CAPTAIN from the back of the AUDITORIUM. Members of the POLICE FORCE follow
him in and begin to search efficiently with lights and weapons at ready.]
JOHN
This is the place.
CAPTAIN
The ground is bloody, search about the churchyard.
Go, some of you, who'er you find attach.
[The CAPTAIN enters into the tomb, looks around, and then returns.]
Pitiful sight! Here lies the County slain,
And Juliet bleeding, warm, and newly dead,
Who here hath lain this two days buried.
Go tell the Mayor, run to the Capulets,
Raise up the Montagues; some others search.
AMANDA, FIRST POLICEWOMAN
Here's Romeo's man, we found him in the churchyard.
CAPTAIN
Hold him in safety till the Mayor come hither.
SUSAN, SECOND POLICEWOMAN
Here is a friar that trembles, sighs and weeps.
We took this mattock and this spade from him,
As he was coming from this churchyard's side.
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CAPTAIN
A great suspicion. Stay the friar too.
[We hear the helicopter, and then the MAYOR enters, with BODYGUARDS and AIDE.]
What misadventure is so early up,
That calls our person from our morning rest?
[LORD CAPULET, SAMPSON, GREGORY, LADY CAPULET and KATHRYN enter]
GREGORY
What should it be that is so shrieked abroad?
KATHRYN
O, the people in the streets cry 'Romeo',
Some 'Juliet', and some 'Paris'.
LADY CAPULET
And all run
With open outcry toward our monument.
MAYOR
What fear is this which startles in your ears?
CAPTAIN
Here lies the County Paris slain,
And Romeo dead, and Juliet, dead before,
Warm and new killed.
MAYOR
Search, seek, and know how this foul murder comes.
CAPTAIN
Here is a friar, and slaughtered Romeo's man,
With instruments upon them, fit to open
These dead men's tombs.
LORD CAPULET
O heavens! O wife, look how our daughter bleeds!
LADY CAPULET
O me, this sight of death is as a bell
That warns my old age to a sepulchre.
[Enter LORD MONTAGUE]
MAYOR
Come, Montague, for thou art early up
To see thy son and heir so early down.
LORD MONTAGUE
Alas, my lord, my wife is dead tonight;
Grief of my son's exile hath stopped her breath.
What further woe conspires against my age?
MAYOR
Look and thou shalt see.
LORD MONTAGUE
O thou untaught! What manners is in this,
To press before thy father to a grave?
MAYOR
Seal up the mouth of outrage for a while,
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Till we can clear these ambiguities,
And know their spring, their head, their true descent,
And then will I be general of your woes.
[By now, the MAYOR is standing on the MAIN STAGE directly upstage of the two biers
with the bodies of ROMEO and JULIET lying on them.]
Bring forth the parties of suspicion.
FRIAR LAWRENCE
I am the greatest, able to do least,
Yet most suspected, as the time and place
Doth make against me, of this direful murder;
And here I stand both to impeach and purge
Myself condemned and myself excused.
MAYOR
Then say at once what thou dost know in this.
FRIAR LAWRENCE
I will be brief, for my short date of breath
Is not so long as is a tedious tale.
Romeo, there dead, was husband to that Juliet,
And she, there dead, that Romeo's faithful wife:
I married them, and their stol'n marriage day
Was Tybalt's doomsday, whose untimely death
Banished the new-made bridegroom from this city,
For whom, and not for Tybalt, Juliet pined.
You, to remove that siege of grief from her,
Betrothed and would have married her by force
To County Paris. Then comes she to me,
And with wild looks bid me devise some mean
To rid her from this second marriage,
Or in my cell there would she kill herself.
Then gave I her (so tutored by my art)
A sleeping potion, which so took effect
As I intended, for it wrought on her
The form of death. Mean time I writ to Romeo
That he should hither come as this dire night
To help to take her from her borrowed grave,
Being the time the potion's force should cease.
But that which bore my letter stayed by accident,
and yesternight
Returned my letter back. Then all alone,
At the prefixed hour of her waking,
Came I to take her from her kindred's vault,
Meaning to keep her closely at my cell,
Till I conveniently send to Romeo.
But when I came, some minutes ere the time,
Of her awakening, here untimely lay
The noble Paris and true Romeo dead.
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She wakes, and I entreated her to come forth
And bear this work of heaven with patience.
But then a noise did scare me from the tomb,
And she too desperate would not go with me,
But as it seems, did violence on herself.
All this I know, and to the marriage
Her nurse is privy; and if ought in this
Miscarried by my fault, let my own life
Be sacrificed, some hour before his time,
Under the rigor of severest law.
[By now the entire cast has assembled onstage and stand in tableau, watching the Friar
as he speaks, brokenly. Light smoke wisps across the crowd standing on the various
levels across the entire STAGE and AUDITORIUM.]
MAYOR
We still have known thee for a holy man.
Where's Romeo's man? What can he say to this?
BALTHASAR
I brought my master news of Juliet's death,
And then in post he came from Mantua
To this same place, to this same monument.
This letter he early bid me give his father,
And threatened me with death, going in the vault,
If I departed not and left him there.
MAYOR
Give me the letter, I will look on it.
Where is the County's AIDE that raised the watch?
Sirrah, what made your master in this place?
[The MAYOR reads the letter as he listens, occasionally looking up to watch JOHN
speak. The townspeople quietly watch.]
JOHN
He came with flowers to strew his lady's grave,
And bid me stand aloof, and so I did.
Anon comes one with light to ope the tomb,
And by and by my master drew on him,
And then I ran away to call the Police.
MAYOR
This letter doth make good the Friar's words,
Their course of love, the tidings of her death;
And here he writes that he did buy a poison
Of a poor pothecary, and therewithal
Came to this vault to die, and lie with Juliet.
Where be these enemies? Capulet, Montague?
[LORD MONTAGUE enters upstage left of the biers; LORD and LADY CAPULET
slowly enter upstage right. They come to stand directly beside the biers, downstage of
the MAYOR.]
See what a scourge is laid upon your hate,
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That heaven finds means to kill your joys with love!
And I for winking at your discords too
Have lost a brace of kinsmen.
All are punished.
[Everyone goes into a freeze as the strains of "Uninvited" come up from the BAND. The
FRIAR, who has been standing upstage, with two policemen on either side, comes
forward, taking off her robe and revealing the simple black costume of the CLOWN. She
walks forward, making her way through the tableau of townspeople. She is holding a
sword. She stops at the end of the thrust stage, looks at the sword meaningfully, and then
leans on it like a cane as she speaks.
A glooming peace this morning with it brings,
The sun for sorrow will not show its head.
For never was a story of more woe
Than this of Juliet and her Romeo.
[Lights dim to BLACKOUT. BAND plays as lights come up on a tableau of cast
members, who bow solemnly, turn and gesture to the BAND for their curtain call, then
bow again. Lights go to black again and the cast leaves in the darkness. Music dies as
well, and then as the house lights come up, Alanis Morissette's CD of "Uninvited"
begins to play while the audience departs.]