When putting on a performance of Romeo and Juliet, it may help to look
at past productions of the play, and to see what elements made these productions
successful or unsuccessful. One production of Romeo and Juliet, which
received excellent reviews, was directed by Mark Lamos in 1995, on the
Hartford Stage in Hartford, Connecticut. Critic Cesley Plemmons called
this production “a handsome production acted with spirit and romanticism,”
and “an entertaining and ultimately gripping evening.” Fred Sokol
states that it is “stunning,” and Alvin Klein labels the production “ideal.”
By examining why this performance evoked such favorable reactions, one
may be able to get ideas about what to do in their own performance.
One element of Lamos’s production of Romeo and Juliet, which
was mentioned by several critics, was its visual appeal. The set
design and costuming of the production were apparently excellent.
Lamos chose to set the production in 14th-century Verona, rather than a
less traditional setting. The set was designed by Micheal Yeargan,
who incorporated arches and balconies in the town square scene, creating
an “operatic” appearance. Fred Sokol states that, “The attractiveness
of the set is that, upon first viewing, the sense one receives is that
of an engulfing feature film.” He says about the set designer, “His
construction of the house of Capulet, through the deep, spanning area of
the stage, absolutely beckons the viewer to join in.” Lighting is
incorporated with the set design, to heighten the dramatic effect.
Critic Alvin Klien states, “Micheal Yeargen’s single setting and expanse
of 13th-century architectural facades allows Robert Wierzel’s transforming
lighting design to create spatial changes.” Lighting in this production
is also said to correspond to changes in the play’s mood, accentuating
the contrasts inherent in the text. Costuming is also mentioned as
adding to the play’s visual appeal. Plemmons says, “The players are
costumed in rich brocades and silks in shades and hues of the old masters.”
The acting in Romeo and Juliet is probably the most important
element concerning its success. According to Chesley Plemmons, the
attractiveness of the main characters is vital to how the audience reacts
to them. Romeo and Juliet, played by Robert Petkoff and Calista Flockhart,
are said to be “enchanting.” They both had enough experience to accurately
portray their characters, yet were still able to bring youth and energy
to their performances. Flockhart was able to show how Juliet progresses
from being pure and innocent to independent. At first she spoke quickly,
in a breathy voice, and later strengthened her characterization.
One of her scenes, which Plemmons considers to be very effective, was “when
Juliet limpidly raises her hand in the tomb scene a nanosecond before Romeo
drinks the poison.” Other characters, such as Mercutio and the Nurse,
were portrayed as being funny and bawdy in the beginning of the play, but
later becoming serious. Frier Lawrence, played by Robert Stattel,
was portrayed as being a trustworthy father figure, rather than a meddler.
There were many other details that made this production praiseworthy
as well. Lamos used music from 12th through 15th century Europe to
add to the play’s atmosphere. Lamos’ recorded voice was used as the chorus
in the prologue. The brawl at the play’s beginning was well choreographed,
and incorporated throwing fruit and other objects. This scene, as
well as the Capulet’s masquerade party, added to the sense of impending
death.
The elements in the Hartford Stage production of Romeo and Juliet
that contributed to its success were a realistic setting, costumes and
lighting that complemented the action, experienced, yet energetic and attractive
actors, and other details, such as music and choreography. The success
of this production shows how such elements must all be present and work
together.