For newcomers, like the teen in stitches in the front row on opening night, this production may come as an enjoyable surprise. So, for Shakespeare die-hards, and hopeless romantics who have come for the exquisite pain of doomed love, the tone might feel odd. But that comes at the expense of Shakespeare’s subtler details and psychological nuances-key strengths in a work where the delicate wordplay includes such elegant lyrical riddles as “my lips, like two shy and blushing pilgrim travellers, to smooth over the rough touch of my hand upon yours by kissing your hand”. Tightening the script and cutting a few extraneous characters, then chronologically rearranging the show into a flashback, director Anita Rochon’s rendition ends up being accessible and entertaining, with an empowered Juliet. In fact, in several scenes, it feels closer to farce. Though it ends horribly for its two star-crossed lovers, it has many witty moments and even plays with comedic conventions in its early acts.īut Bard on the Beach’s new production leans far more heavily on the comedy than likely any other production audiences have seen (save maybe for cartoon parodies like The Family Guy’s). ROMEO AND JULIET has never been thought of as a traditional Shakespearean tragedy.
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