I’ve been in this play three times and I’m continually struck by how fun, romantic, and progressive it is. It raises questions about gender roles, social norms, bullying, and even catfishing and heteronormativity! It’s a fascinating and thought-provoking play and it’s my favorite of Shakespeare’s comedies!
Shakespeare’s early comedies are about young love, infatuation, and being ‘madly in love’ (sometimes literally). His middle plays are about mature relationships between men and women and the need for commitment. I would argue that Twelfth Night, (and possibly Much Ado About Nothing), are the best examples of Shakespeare telling meaningful stories about romantic relationships.
In honor of “Twelfth Night,” I’ve created a coupon for my course on Shakespeare’s comedies from now till January 31st: Get $10 off my class “Shakespeare’s Comic Plays” with coupon code HTHESYTIT110 until Jan 31, 2023. Get started at https://outschool.com/classes/shakespeares-comic-plays-868BR5hg and enter the coupon code at checkout.
To finish I wanted to give you a complete production of Twelfth Night for your viewing pleasure, but I can’t decide which one, so I will post a bunch today!
1. 1996 TV movie starring Geoffrey Rush (Pirates of the Caribbean)
Though Shakespeare’s Hamlet is very much the story of a renaissance prince, it’s important to remember that the play’s sources date back to the Dark Ages. The anonymous “UR-Hamlet,” (later published in the early 1590s ), is based on an ancient legend about a prince who fights to the death to revenge his father’s murder. Shakespeare’s adaptation still contains a nod to this ancient culture that praised and highly ritualized the concept of judicial combat.
Back in Anglo-Saxon times, private disputes, (such as the murder of one’s father) could be settled through means of a duel. In this period, England was occupied by the Danes, (which we would now call Vikings), and several Viking practices of judicial combat survive. For example, the Hólmgangan, an elaborate duel between two people who fight within the perimeter of a cloak.
At the end of Shakespeare’s Hamlet, the revenge cycle between Hamlet, Leartes, and Fortinbras, comes to a close using a duel. Hamlet has murdered Leartes’ father but Hamlet did not intentionally kill him. This kind of legal dispute would certainly have been settled with a duel in Saxon times. This is one reason why Leartes scorns Hamlet’s offer of forgiveness at the beginning of the scene, and instead trusts in the outcome of the fight to prove his cause. Hamlet and Leartes begin fighting officially under the terms of a friendly fencing match, but it becomes clear early on that at least in the mind of Leartes, this is actually a blood-combat. He is demanding blood for the death of his father, as the Danes would have done during the Anglo Saxon times when Shakespeare’s source play of Hamlet was written.
What happens in the fight
The sword fight at the end of Hamlet is surprising in many ways. First of all, it is much more choreographed than many of Shakespeare’s other fights which are usually dramatized on the page very simply with two words: “They fight.” In Hamlet by contrast, Shakespeare has a series of important and descriptive stage directions. Furthermore, the fight is divided into three distinct bouts or phrases, or if you like “mini fights.” Below is the full text of the fight. I shall then explain what happens in each phrase.
Shakespeare it very clear that Hamlet gets a normal fencing rapier, while Leartes gets a sharp one, they fight one fencing bout where Hamlet scores a point. This is the most “sportsman like” part of the fight:
Enter King, Queen, Laertes, Osric, and Lords, with other
Attendants with foils and gauntlets.
A table and flagons of wine on it.
Claudius. Come, Hamlet, come, and take this hand from me.
[The King puts Laertes' hand into Hamlet's.]
Hamlet. Give me your pardon, sir. I have done you wrong;
But pardon't, as you are a gentleman.
Laertes. I am satisfied in nature,
Whose motive in this case should stir me most
To my revenge. But till that time
I do receive your offer'd love like love,
And will not wrong it.3890
Hamlet. I embrace it freely,
And will this brother's wager frankly play.
Give us the foils. Come on.
Laertes. Come, one for me.
Hamlet. I'll be your foil, Laertes. In mine ignorance3895
Your skill shall, like a star i' th' darkest night,
Stick fiery off indeed.
Laertes. You mock me, sir.
Hamlet. No, by this hand.
Claudius. Give them the foils, young Osric. Cousin Hamlet,3900
You know the wager?
Hamlet. Very well, my lord.
Your Grace has laid the odds o' th' weaker side.
Claudius. I do not fear it, I have seen you both;
But since he is better'd, we have therefore odds.3905
Laertes. This is too heavy; let me see another.
Hamlet. This likes me well. These foils have all a length?
They Prepare to play.
Osric. Ay, my good lord.
Claudius. Set me the stoups of wine upon that table.3910
If Hamlet give the first or second hit,
Or quit in answer of the third exchange,
Let all the battlements their ordnance fire;
The King shall drink to Hamlet's better breath,
And in the cup an union shall he throw3915
Richer than that which four successive kings
In Denmark's crown have worn. Give me the cups;
And let the kettle to the trumpet speak,
The trumpet to the cannoneer without,
The cannons to the heavens, the heaven to earth,3920
'Now the King drinks to Hamlet.' Come, begin.
And you the judges, bear a wary eye.
Hamlet. Come on, sir.
Laertes. Come, my lord. They play.
Osric. A hit, a very palpable hit.
Laertes. Well, again!
Claudius. Stay, give me drink. Hamlet, this pearl is thine;3930
Here's to thy health.
[Drum; trumpets sound; a piece goes off [within].]
Give him the cup.
Hamlet. I'll play this bout first; set it by awhile.
Claudius. Come. [They play.] Another hit. What say you?3935
Laertes. [aside] And yet it is almost against my conscience.
Again, Hamlet gets the upper hand and scores a point. While his mother is celebrating his victory, she accidently drinks the poisoned cup that Claudius meant for Hamlet. Now Claudius is enraged, Laertes is angry because of losing the first two bouts, and Hamlet is blissfully unaware that he is in mortal danger.
When Hamlet isn’t expecting it, Leartes wounds him with the poisoned sword. From there, the fight degenerates into a violent, bloody mess where Hamlet disarms Laertes, then stabs Leartes. After this, the Queen dies, and Hamlet kills Claudius:
Hamlet. Come for the third, Laertes! You but dally.3950 Pray you pass with your best violence; I am afeard you make a wanton of me.
Gertrude. No, no! the drink, the drink! O my dear Hamlet!3965 The drink, the drink! I am poison’d. [Dies.]
Hamlet. O villany! Ho! let the door be lock’d. Treachery! Seek it out.
Laertes. It is here, Hamlet. Hamlet, thou art slain;3970 No medicine in the world can do thee good. In thee there is not half an hour of life. The treacherous instrument is in thy hand, Unbated and envenom’d. The foul practice Hath turn’d itself on me. Lo, here I lie,3975 Never to rise again. Thy mother’s poison’d. I can no more. The King, the King’s to blame.
Hamlet. The point envenom’d too? Then, venom, to thy work. Hurts the King.
Claudius. O, yet defend me, friends! I am but hurt.
Hamlet. Here, thou incestuous, murd’rous, damned Dane, Drink off this potion! Is thy union here? Follow my mother. King dies.
God’s providence in Hamlet (or lack therEof)
It is telling that everyone dies in this scene, which indicates that the concept of providence seems somewhat ambiguous in this scene- yes, Claudius dies but so does Hamlet. In addition, Leartes dies justly for his own treachery as he claims, but he also tries to avoid damnation. Leartes is guilty of treason for killing Hamlet, but Hamlet is guilty of killing an old man and a young maid, so Leartes asks God to forgive Hamlet for two murders, while he has only committed one. Providence doesn’t seem clear which crimes are worse. Further, Providence fails to reveal the guilt or innocence of Queen Gertrude- did she know her second husband murdered her first? Did she support Hamlet’s banishment? Did she know the cup was poisoned, and is therefore guilty of suicide, or was she ignorant and punished by fate for her adultery and incest? Knowing the conventions of judicial combat help the reader understand the compex world of Hamlet, a world devoid of easy answers.
How Would I Stage the Fight?
Phrase 1 I want the two combatants to start en guarde, their blades touching, then there will be a series of attacks on the blade. Hamlet will advance and attack the low line of Leartes’ sword Hamlet will advance and attack the high line of Leartes’ sword Leartes will advance and beat attack the high line of Hamlet’s sword Leartes will advance and attack the low line of Hamlet’s sword
Hamlet performs a bind on Leartes’ sword, sending it off on a diagonal high line. Hamlet attacks Leartes leg and Leartes will react in mild pain.
Phrase 2 Leartes is no longer fighting in polite manner, so this will be the real fight where he’s actually going for targets Hamlet and Leartes come together and bow, Both go into en guarde and Osric signals the start of the fight. Hamlet attacks Leartes’ blade high Leartes attacks Hamlet’s blade low Leartes suddenly does a moulinet and attacks Hamlet’s right arm. Hamlet does a pass back and parries 3 Leartes attacks Hamlet’s Left Arm. Hamlet does another pass back and parries 4 Leartes cuts for Hamlet’s head. Hamlet passes back and does a hanging parry 6, which causes the sword to slide off. Hamlet ripostes, slips around Leartes’ ________side, and thrusts offline in suppination. He then flicks the sword, hiting the back of Leartes’ knee. Phrase 3 Concern- you need to have enough space for Hamlet to chase Leartes DS, and for Leartes to slice Hamlet with the forte of his sword. Before the bout is supposed to start, Hamlet walks toward the sword, point down to Leartes US L or USR “I am afeard you make a wanton of me” Leartes: “You mock me sir!” Hamlet: “No, by this hand” Hamlet presents his hand. Leartes places his sword on it, and slices it Leartes gives Hamlet a stomach punch Hamlet falls to his knees dropping the sword. If necessary, Hamlet can pull out a blood pack to put on his hand.
Leartes points his blade above Hamlet’s head, then brings it back, preparing to strike off Hamlet’s head. Leartes: “Have at you now” Hamlet ducks to the right, with his leg extended. Leartes Passes forward, trips on Hamlet’s leg. Hamlet does a slip and goes behind Leartes’ back. Hamlet rabbit punches Leartes on the back, picks up Leartes’ sword, noticing the blood on it Leartes slowly rises, then notices Hamlet with his sword, he quickly grabs Hamlet’s weapon Hamlet shoves Leartes DS into a corp a corp, then traps Leartes’ blade The two push each other for a while
Osric: “Nothing Neither way” Hamlet pushes Leartes downstage, then slices him across the back. Leartes stops DS, and falls to the ground
Murder of Claudius If Claudius is standing, we can have Horatio grab the king around the neck, Hamlet places the sword across Claudius’ stomach, and slices him. If Claudius is seated, Hamlet picks up the goblet with one hand, slices the king’s leg, then, (after establishing a good distance), Hamlet points the blade off line, just left of Claudius’ neck. Hamlet is giving Claudius a choice- drink or be stabbed. When Claudius chooses to drink, either Hamlet or Horatio can give him the cup. If Horatio gives it to Claudius, it might give him the idea to die later.
Last month, I took a short vacation to Las Vegas, where, as some of you know, I went to Area 15 and the Omega Mart Exhibit. I also visited the Las Vegas Mob Museum. I’ve been fascinated by the mob for years. The Mob (AKA The Outfit), has within its many threads a potent combination of corruption, seduction vice, and violence all hidden behind the veneer of honorable men who do what they feel they have to to protect their families and their communities.
Not surprisingly, while at the museum, I saw parallels between the history of organized crime and Shakespeare, specifically his most popular history play about a powerful family that takes over the crown of England in a brutal turf war, and then one of its most feared soldiers bribes, intimidates, and murders his way to the top; Richard III.
A Protection Racket: Feudalism vs. La Cosa Nostra
The structure of the mafia paralleled the feudal system. In a world where a police force didn’t offer much protection for marginalized communities, the mafia thrived by offering protection for these communities, (especially to immigrants and people of color in the 19th and early 20th century).
Much earlier than that, the feudal system of the middle ages, which started to crumble after Richard’s reign ended, was designed specifically so poor peasants could get protection from wealthy landowners after the fall of the Roman Empire. These lords offered the protection of their knights to these peasants i. Return for labor and a percentage of their income working the field. Like the mafia, these peasants paid tributes to their lords and these lords demanded loyalty. In the museum, there’s an interactive video where you can become a ‘made man,’ which means become an official member of a mafia crew. Like a king knighting a lord, this ceremony meant pledging your life to your superiors, and being at their beck and call no matter what. In addition, like medieval knights, mafiosos were not allowed to murder other made men without permission from their capo or boss.
However benevolent they might appear, In both cases the Dons and the medieval lords were extorting their underclass. Failing to pay tribute to their lords would cause the peasants to lose their lands, and any disloyalty to the mafia would be severely punished. These powerful, violent thugs used their private armies to intimidate the weak into giving them what they wanted.
Part II: The Two Families
To thoroughly explain the parallels between the Wars of the Roses and the mob, I need to make clear that Richard iii is more than just the story of one man’s rise to power, although there are also mafia stories that fit this mold such as Scarface, White Heat, and the real-life story of Al Capone.
As this hilarious “weather report” from “Horrible Histories,” makes clear, during the Wars of the Roses two powerful families, (each with a claim to the English crown) fought each other in a brutal turf war. As Shakespeare characterizes in his play Henry VI, Part III, the battles between the houses of York and Lancaster shook England like a mighty storm, and for a while it was hard to tell who would prevail:
Henry VI. This battle fares like to the morning's war, When dying clouds contend with growing light, What time the shepherd, blowing of his nails,1105 Can neither call it perfect day nor night. Now sways it this way, like a mighty sea Forced by the tide to combat with the wind; Now sways it that way, like the selfsame sea Forced to retire by fury of the wind:1110 Sometime the flood prevails, and then the wind; Now one the better, then another best; Both tugging to be victors, breast to breast, Yet neither conqueror nor conquered: So is the equal of this fell war.
Henry VI, Act II, Scene i
During the Wars of the Roses, it was King Henry’s incompetence and mental illness that gave the Yorkists the ability to challenge the House of Lancaster for the crown. In the 1920s, the passage of the 18th amendment, (which made alcohol illegal, and thus a profitable commodity for organized crime), that allowed the mob to rise to unheard-of power through illegally buying, distributing, and selling alcohol. As the photo and subsequent video shows, Prohibition largely led to the rise in organized crime in America, especially in Chicago. During Prohibition, the Italian Sough-side Gang fought for control of Chicago’s bootlegging trade and subsequently destroyed their competition from the Irish gangs through corruption, intimidation, and violence.
The Don rises- Richard Vs. Al Capone
Like the Italian and Irish gangs In Prohibition-era Chicago, the Yorkist and Lancastrian armies battled for the English throne. As Ian McKellen’s excellent movie (set in the 1930s) shows, Richard was instrumental in destroying the leading Lancastrians at the Battle of Tewkesbury, including Prince Edward and King Henry.
In Chicago, the most feared mobster soldier was Al Capone, who many scholars believe was responsible for killing off high ranking members of the Irish gang during the infamous St. Valentines Day Massacre, where the gang members were ‘arrested’ by South Side gangsters disguised as cops. As the Irish stood against the wall with their hands behind their heads, the phony cops pulled out Tommy guns from their coats and let out a hail of bullets on their unsuspecting quarry.
In Shakespeare’s play, the only Lancastrian to survive the war is Queen Margaret, wife to the murdered King Henry, and mother to the slaughtered Prince Edward. In this scene from Al Pacino’s “Looking For Richard,” she curses Richard for his cruel slaughters. It’s not surprising that Pacino was so drawn to Richard II that he starred in and directed this film. After all, Pacino is famous for playing mafia characters who slaughter their way to the top.
Once Capone killed the competition, he ruled a multimillion-dollar empire of bootleggers and maintained that empire through corruption, intimidation, and by constantly playing innocent, just like Richard himself.
Hypocrisy, Corruption and hidden violence
“Men in general judge more by the sense of sight than by the sense of touch, because everyone can see, but few can test by feeling. Everyone sees what you seem to be, few know what you really are; and those few do not dare take a stand against the general opinion.”
Both Richard III and mobsters are masters of double-speak, that is, seeming to say one thing and meaning something else. Look at this passage where Richard talks about killing his nephew, then denies it:
Richard III (Duke of Gloucester). I say, without characters, fame lives long. [Aside] Thus, like the formal vice, Iniquity, I moralize two meanings in one word.
Las Vegas: The town that bedded and abetted the mob.
After Al Capone’s demise and the repeal of Prohibition, the mafia found another vice to capitalize on: gambling. As the video below indicates, using their connections with the Teamsters Union and midwestern bookmakers, the mob in the midwest financed, built, and run almost every casino in Las Vegas, including The StarDust and the Hassienda. Once the casinos were built, the mob extorted millions of dollars from the casinos every month!
The profits from the casinos bought the mob even more power and influence, but this skim depended on making sure the bosses controlled their underlings, and defended their casinos from cheaters and snitches, which is why they defended their casinos through intimidation and violence.
Murders in The White tower and the city of sin.
“Simple, plain, Clarence. I do love thee so, that I shall shortly send thy soul to Heaven.”
—Richard III, Act I, Scene i
When Richard of Gloucester starts his quest to become king, he begins by convincing his brother King Edward to execute his other brother George. Richard bribes the murderers to kill George before the king can reverse the death sentence. Richard has thus eliminated another obstacle in his way, and gained two loyal followers who will do anything for his gold.
The mafia dealt the same way with traitors, stool pigeons, and anyone who tried to challenge the bosses. Look at this tour of the Mafia museum, where the grandson of the gangster Meyer Lansky starts by reminiscing about the glamourous lifestyle of Las Vegas mobsters, but the tour quickly takes a dark turn as Lansky II talks about how his grandfather ordered brutal executions for anyone who crossed The Las Vegas Outfit.
It was an enormously interesting trip going to the Mafia Museum, and if you can get out to Las Vegas, be sure to visit, (don’t forget the password to visit the speakeasy bar in the basement!) It was eye-opening for me how prevalent the sort of corrupt protection racket that started in the middle ages and continued into most of the 20th century helped define The Wars of the Roses and the mafia. As long as the strong prey on the weak and the law can’t protect everyone equally, these kinds of violent thugs will be lurking in the shadows, waiting for a shot at the crown.
I’ve seen four live productions of Romeo and Juliet, (5 if you include West Side Story). I’ve also watched four films (6 if you include West Side Story and Gnomio and Juliet) and one thing that I’ve noticed again and again, and again is that you can tell the whole story of the play with clothing. This is a story about families who are part of opposite factions whose children secretly meet, marry, die, and fuse the families into one, and their clothes can show each step of that journey.
The feud Nearly every story about a conflict or war uses contrasting colors to show the different factions. Sometimes even real wars become famous for the clothes of the opposing armies. The Revolutionary War between the redcoats and the blue and gold Continentals, the American Civil War between the Rebel Grays and the Yankee Bluebellies. In almost every production I’ve ever seen, the feud in Romeo and Juliet is also demonstrated by the opposing factions wearing distinctive clothing.
Historically, warring factions in Itally during the period the original Romeo and Juliet is set, wore distinctive clothes and banners as well. . In this medieval drawing, you can see Italians in the Ghibelline faction, who were loyal to the Holy Roman Empire, fighting the Guelph faction (red cross), who supported the Pope. Powerful families were constantly fighting and taking sides in the Guelf vs. ghibelines conflict in Verona, which might have inspired the Capulet Montegue feud in Romeo and Juliet.
Even the servants of the nobles got roped into these conflicts, and they literally wore their loyalties on their sleeves. The servants wore a kind of uniform or livery to show what household they belonged to. The servants Gregory and Sampson owe their jobs to Lord Capulet, and are willing to fight to protect his honor. Perhaps Shakespeare started the play with these servants to make this distinction very obvious. Here’s a short overview on Italian Liveries from the Metropolitan Museum of Art:
In 1966, director Franco Zepherelli set a trend with his iconic use of color in his movie. He chose to make the Capulets wear warm tones while the Montegues wore blue and silver. Juliet (Olivia Hussey) wore a gorgeous red dress that made her look youthful, passionate, and lovely, while Tybalt (Michael York), wore red, orange, and black to emphasize his anger, and jealousy (which has been associated for centuries with the color orange). By contrast, the Montagues like Romeo (Leonard Whiting) wore blue, making him look peaceful and cool. These color choices not only clearly indicate who belongs to which contrasting factions, but also help telegraph the character’s personalities. Look at the way these costumes make the two lovers stand out even when they’re surrounded by people at the Capulet ball:
Zepherilli’s color choices were most blatantly exploited in the kids film Gnomio and Juliet, where they did away with the names Capulet and Montegue altogether, and just called the two groups of gnomes the Reds and the Blues.
To get Romeo and Juliet to meet and fall in love, Shakespeare gives them a dance scene for them to meet and fall in love. He further makes it clear that when they first meet, Romeo is in disguise. The original source Shakespeare used made the dance a carnival ball, (which even today is celebrated in Italy with masks). Most productions today have Romeo wearing a mask or some other costume so that he is not easily recognizable as a Montague. Masks are a big part of Italian culture, especially in Venice during Carnival:
In the 1996 movie, Baz Luhrman creates a bacchanal costume party, where nobody wears masks but the costumes help telegraph important character points. Mercutio is dressed in drag, which not only displays his vibrant personality but also conveniently distracts everyone from the fact that Romeo is at the Capulet party with no mask on.
Capulet is dressed like a Roman emperor, which emphasizes his role as the patriarch of the Capulet family. Juliet (Claire Danes) is dressed as an angel, to emphasize the celestial imagery Shakespeare uses to describe her. Finally, Romeo (Leonardo DiCaprio) is dressed as a crusader knight because of the dialogue in the play when he first meets Juliet:
Romeo. [To JULIET] If I profane with my unworthiest hand
This holy shrine, the gentle fine is this:720
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.
Juliet. Good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this;
For saints have hands that pilgrims' hands do touch,725
And palm to palm is holy palmers' kiss.
Romeo. Have not saints lips, and holy palmers too?
Juliet. Ay, 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.730
Juliet. Saints do not move, though grant for prayers' sake.
Romeo. Then move not, while my prayer's effect I take.
Thus from my lips, by yours, my sin is purged.
Juliet. Then have my lips the sin that they have took.
Romeo. Sin from thy lips? O trespass sweetly urged!735
Give me my sin again.
Juliet. You kiss by the book. Romeo and Juliet, Act I, Scene V, Lines 719-737.
Notice that Romeo calls Juliet a saint, and later an angel in the famous balcony scene, which explains her costume at the ball. Juliet refers to Romoe as a Pilgrim, which is a cheeky comment on his crusader knight costume. In the Crusades, crusader knights made pilgrimages to the holy land, with the hope that God (and presumably, his angels) would forgive their sins. Romeo’s name even means “Pilgrim.” Luhrman makes clever nods to Shakespeare’s text by dressing Romeo and Juliet in this way, and gives the dialogue a bit of a playful roleplay as the characters make jokes about each other’s costumes- Romeo hopes that he will go on a pilgrimage and that this angel will take his sin with a kiss.
In Gnomio and Juliet, the titular characters meet in a different kind of disguise. Rather than going to a dance with their family, they are both simultaneously trying to sneak into a garden and steal a flower, so they are both wearing black, ninja-inspired outfits. Their black clothing helps them meet and interact without fear of retribution from their parents (since they do not yet know that they are supposed to be enemies. The ninja clothes also establishes that for these two gnomes, love of adventure unites them. Alas though, it doesn’t last; Juliet finds out that Gnomio is a Blue, when they both accidentally fall in a pool, stripping their warpaint off and revealing who they are.
Sometimes the dance shows a fundamental difference between the lovers and the feuding factions. West Side Story is a 20th-century musical that re-imagines the feuding families as juvenile street gangs, who like their Veronese counterparts, wear contrasting colors. The Jets (who represent the Montagues) wear Blue and yellow, while the Sharks (Capulets), wear red and black. The gang members continue wearing these colors on the night of the high school dance, except for Tony and Maria (the Romeo and Juliet analogs). In most productions I’ve seen, (including the 2021 movie), these young lovers wear white throughout the majority of the play, to emphasize the purity of their feelings, and their rejection of violence. Thus, unlike Shakespeare’s version of the story, West Side Story makes the lovers unquestionably purer are more peaceful than Shakespeare’s Romeo and Juliet, and their clothing makes this clear.
The Merging of the family (8:30-11:00)
Costume Designer Charlene in the 2006 AU production deliberately had the characters change clothes when they get married. Juliet was wearing the same iconic red dress as Olivia Hussey for the first two acts of the play but then changed into a pale blue gown that matches Romeo. The clothes re-enforce the idea that the marriage represents Romeo and Juliet abandoning their family’s conflicts, and simply showing their true colors.
Another way of getting everyone in the family to subconsciously unite in grief would be to costume everyone wearing black except Romeo and Juliet. At the end of the play, The Capulets are already mourning Juliet, (because she faked her death in Act IV), and the Montegues are already mourning Lady Montegue (who died offstage). Just by these circumstances, everyone could come onstage wearing black, uniting in their grief, which is further solidified when they see their children dead onstage.
Not all productions choose to costume the characters like warring factions, but nevertheless, any theatrical production’s costumes must telegraph something about the characters. In these production slides for a production I worked on in 2012, the costumes reflect the distinct personality of each character and show a class difference between the Montagues and the Capulets.
The 2013 Film: Costumes Done Badly
The 2013 movie is more concerned with showing off the beauty of the actor’s faces, and the literal jewels than the clothes:
Most of the actors and costumes are literally in the dark for most of the film, probably because the film was financed by the Swarofski Crystal company, who literally wanted the film to sparkle. Ultimately, like most jewelry, I thought the film was pretty to look at, but the costumes and cinematography had little utilitarian value. The costumes and visual didn’t tell the story efficiently, but mainly was designed to distract the audience with the beauty of the sets, costumes and the attractive young actors. The only thing I liked was a subtle choice to make Juliet’s mask reminiscent of Medusa, the monster in Greek Myth, who could turn people to stone with a look. I liked that the film was subtly implying that love, at first sight, can be lethal.
This 7 part class is geared towards students who have taken my class or some other combat class in the past. We will go in-depth into how to train for, rehearse, and perform a fight from a Shakespeare play. We'll cover fight safety, footwork, proper cuing, and selling the fight. I will also contextualize the fights in "Romeo and Juliet," (the play with more fights than any other in Shakespeare), to explain how the Elizabethans felt about violence, and what this play says about violence in our own time.
The class will mostly be up-on- your feet demonstrations with me in front of the camera and the students mirroring my movements, but there will also be handouts, websites, and video presentations to help supplement what I say.
Class Structure: Week of March 5th: Background on swords/ sword crafts -We will learn about the history of swords from ancient military weapons, to the instrument of private dueling. We’ll also cover the culture of duelling that permeated 17th century Europe, as well as the text of Shakespeare’s Romeo and Juliet. The class will conclude with me instructing the kids how to make a practice sword themselves!
Week of March 12: Proper Footwork/ Stances For Sword Combat- We’ll cover proper stance and en guard positions We’ll practice advances and retreats We’ll show you how to do a lunge and the footwork involved. We’ll incorporate advances and retreats with simple high-low parries and cuts.
Week of March 19th : Cuts, Swipes, and Thrusts You’ll learn the lines of attack and defense You’ll learn the proper way to hold a blade and deliver realistic-looking cuts. Learn how to thrust (online and offline)
Week of March 26th: Parries and other defensive moves We’ll cover the 6 basic parries to stop an attacker’s blade. We’ll also cover ducking, avoidances, and
Week April 2nd: Fight Rehearsal 1 We’ll assign roles for the fight between Mercutio, Tybalt and Romeo in Act III I of "Romeo and Juliet." The students will then get a fight script, and you can practice the fight at ½ speed. We will also explain the concept of Cue-Reaction-Action: A basic stage combat principle/process used to achieve a safe and dramatically effective sequence of events. We will discuss the importance of eye contact and cuing to ensure that the combatants know what to expect at all times.
Week of April 9th: Fight practice 2 - We'll go through a warm-up fight drill - We'll rehearse the fight at 3/4 speed to make sure you understand all the moves. - We'll Incorporate acting into the fight- selling pain, anger, and fear. Use distance to show character relationships.
Week of April 16th: Final Fight performance - We'll go through a warm-up fight drill again - We'll rehearse the fight at 3/4 speed again to make sure you understand all the moves. -We’ll pretend we’re doing this fight for an audience at ¾ speed. If need be, I’ll play one of the aggressors and you can do the fight pretending I’m in the room with you. At the end of class, I’ll show you a similar fight from my production of Romeo and Juliet and we’ll discuss the differences between our fight and the one I showed the students. Finally, we will discuss the way Shakespeare portrays violence in the play and its relevance in our world.
I’m very proud to announce that just in time for Valentines’ Day, I’m offering a course of classes about Shakespeare’s most popular play about love. The play will include fight choreography, dramatic readings, games, escape rooms, and an activity where the students create their own Shakespearean insults!
We’ll engage with the play with thoughtful discussion.
You’ll go on a virtual tour to the Globe Theater!
You’ll play detective and solve a Shakespearean murder!
Instead of just reading the play "Romeo and Juliet," this class will actively delve into the world of the play through a combination of lectures, dramatic readings, virtual field trips, online quizzes and activities, and finally, a digital escape room to test the student's knowledge of the play and its ideas. Each class is ala carte, meaning that once you take one class, you choose whether to stop at one class or continue onwards. Each class will delve into a different theme, literary device, and historical concept in the play:
Class 1: Why Read Romeo and Juliet?
- The teacher will decode the Prologue of Romeo and Juliet and tell the basic story of the play
- We will explain dramatic irony through looking at the prologue,
- The teacher will explain why Shakespeare used poetry in the play, instead of just writing in common prose
- We will discuss why we still read Shakespeare and Romeo and Juliet in particular.
Class 2: Foils and Fights
- The learner will learn about the culture of dueling and sword fighting that was rampant in the 17th century.
- The teacher will explain and the learner will learn to recognize character foils in the play like Romeo and Friar Laurence
- We will cover the topic of antithesis- how opposite imagery permeates the play.
- We will discuss figurative language through insults and the students will have a contest to see who can craft the best Elizabethan insults!
Class 3: Acts 1& 2- The Language of Love and Hate
- We will recap how insults work- hyperbole and metaphor used to make someone seem the worst, the smallest, the ugliest, the dumbest, etc.
- We'll examine passages from Act II that show how these techniques apply to wooing and expressing love through metaphor, hyperbole, and allusions.
- The teacher will explain what a sonnet is and how Shakespeare uses them repeatedly in "Romeo and Juliet"
- We will discuss staging the famous Balcony Scene of Romeo and Juliet and ask if it's possible to do so in a virtual environment.
Class 3: Act 3 fighting 💪 swordplay and plague imagery
The teacher will explain the plot structure of Elizabethan tragedies and explain that Act III is the climax of the play.
We will recap the events that led to the deaths of Mercutio and Tybalt
The teacher will unpack Mercutio’s famous curse "A plague on both your houses," which is a foreshadowing, and the climax of the action.
The class will end with a short, safe demonstration of stage fighting where the students may choose to enact Mercutio's fight with Tybalt and/ or Romeo's fight with Tybalt.
Class 4: Act 4 antithesis and dramatic irony
We will talk about the imagery in Act IV, scene 1, which foreshadows the end of the play. I will also do a dramatic re-enactment of Juliet's soliloquy in Act IV,
We'll go on a virtual field trip to an Elizabethan wedding.
The teacher will historical context of the black death and its relevance to the play and Shakespeare's life.
Class 5: The final curtain
We will discuss Act V of the play and how so many forces seemed to be out of Romeo and Juliet's control, pushing them apart. We will also discuss whether or not Friar Laurence should be punished for encouraging Romeo and Juliet to disobey their parents.
Class 6: Performance then and Now
The teacher will perform in character as William Shakespeare, and teach the students how to act like real Elizabethan actors. This will include a virtual tour of the Globe Theater, a virtual costume fitting, stage fighting lessons, and DIY Elizabethan crafts. The teacher will then engage the class by discussing different adaptations, sequels, and spin-offs of Romeo and Juliet, in order to illustrate how popular and long-lasting this story is. The students will watch and discuss clips from various movies, plays, and ballets based on Romeo and Juliet. The instructor will conclude by sharing his own experience acting in Romeo and Juliet three times as The Prince, Friar Laurence, and Peter.
Final project- CSI ROMEO AND JULIET STYLE
The class will play the role of a detective trying to solve the mystery of Juliet's death in Act IV, (when she actually takes the sleeping potion). (S)he doesn't know what happened but must piece together clues hidden in a digital escape room, such as handwritten notes, blog posts, receipts from "The Apothecary," etc. The clues will not only test the student's knowledge of the play, but their understanding of metaphor, verse, Elizabethan history, and more! In the end, the Detective will be the one who tells Lord and Lady Capulet the true story of what happened to Juliet. To unlock the digital escape room, the students will decode messages hidden in the clues and enter them into a Google Form.
First course runs from February 2nd to March 19th, 7PM EST. If you can’t make it to this section, I can schedule one for you.