Word: romeo
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Dates: during 1970-1979
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...Thus with a kiss I die"--he is able to move forward only part way toward Juliet's lips before he falls back dead, thus showing that the apothecary's drugs not only "are quick" but are a good deal quicker than he expected. To the very end this Romeo lacks the experience to deal with everything that arises. Birney's is a performance of beauty, ardor, and passion. Who would have thought the young man to have had so much blood...
...diction. It teems with smutty puns that would get the work banned by highschool teachers and boards of education if these folks were really up on their Elizabethan lingo. The bulk of the bawdry issues from the mouths of Mercutio and the Nurse, who are the foils to Romeo and Friar Laurence. Kahn has a lot of the phallic and other ribaldry indicated through gesture or mime...
...current version is the third here at Stratford. The 1959 production's Juliet was Inga Swenson, who was then in her late twenties but did manage to seem consistently adolescent as well as unfailingly musical; her Romeo, however, was deficient. Six seasons later the situation was reversed: Terence Scammell was an absolutely gorgeous Romeo, with an inadequate Juliet. It is the 1965 combination that faces us again this summer...
...make a sufficiently youthful impression. Furthermore, her vocal range is far too narrow for a part that is above all else lyrical and musical to an extreme. And sometimes her pace is too leisurely. She does have two fine moments: in her "Come, night" speech, her anticipation of Romeo's arrival erupts into an unabashedly erotic embracing of her bed; and she effectively manages the psychological changes in her phial soliloquy. On the whole, though, this "fair Juliet" is only fair...
Michael Levin's Tybalt lacks sufficient fire until he gets to the duel with Romeo, which is fast, furious and fanatical. A cheer for Patrick Crean, who has coached every trace of timidity and amateurism out of all the fencers...