Word: tybalt
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Dates: during 1950-1959
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...play is at times literarily self-conscious and structurally too obvious in its symmetrical balance. Every idea has its complement: love vs. hate, day vs. night, patience vs. impetuosity, chastity vs. bawdry, and so on. Every character has its foil: Romeo and Mercutio, Juliet and Roasline, Benvolio and Tybalt, Friar Laurence and the Nurse. If it is not a supreme achievement, it is still a great play; and let us be thankful we have...
...finest male performance in this production is Jack Bittner's Tybalt. He plays Capulet's war-mongering nephew with brio and brimstone. Though physically very short of stature, Bittner is, by the time he is slain, fully one foot taller. Incidentally, all the swordplay in the production is splendid; arranged by Raymond Saint-Jacques, it is a far cry from the usual mamby-pamby skirmishing...
...gentle narration of a voice in English, the plot thickens speedily; servants of the feuding Montagues and Capulets meet and taunt one another into a brawl that fills the square. Soon the entire cast is introduced: Romeo, handsome and brawny; Friend Mercutio, here a playboy with wonderfully impudent toes; Tybalt, an arrogant, bloodthirsty Capulet; the stony senior Capulets and Montagues; and, last and best, Ulanova's Juliet, not quite girlish and a bit plumper about the waist than the American fashion in dancers...
...dark wood and in bright eyes, was done in an apartment of that palace. On the Venetian cloister of San Francesco del Deserto, where some of the monastery sequences were made, the light falls slow and bright as dust from a celestial censer. The swordplay between Romeo and Tybalt flashes through Siena's gracious Piazza del Duomo. When Romeo in the last act beats with unavailing hands at the church door, he strikes the great bronze portal, green and inscrutable, of San Zeno Maggiore at Verona...