Crossposted to Riba Rambles () and bard_in_boston:

I've watched both major motion pictures calling themselves Romeo and Juliet (1968 & 1996) but part of me feels I'd never really seen the play until yesterday afternoon at Harvard.

I can't remember such a sense of joie de vivre in either movie. The sheer mirth and whimsy during the first half had me grinning so much, my cheeks hurt.

Ian claims this is because the films have to cut the text, and the humor can be more easily removed without hurting the plot. That may be the case — this performance did seem fresh and new to me — and if so I feel sorry for people whose only experience of the play has been on film.

But the last time I remember such a grin on my face was Redfeather Theatre Company's As You Like It (which I saw last summer), reminding me that professional theatre may have the edge in skill and budget, but the passion and energy of amateur theater — particularly college productions — make them equally worthwhile.

Lois Beckett's Juliet was dewy-eyed innocence covering a spine of solid steel — as Ian put it, everything you wanted in the role.

Christopher Hanley entered as an appropriately emo!Romeo, and over the course of the play see-sawed among emotional extremes. He was so fitful, in fact, that Ian thought him undeserving of Juliet. Mind you, it didn't hurt that Hanley resembled a younger Rufus Sewell...

Their scenes together, particularly the balcony scene, felt fresh with the flush and desperation of a new relationship.

Of course, the love story of two dumb kids from Verona (as Ian is wont to call the play) could easily become insipid without the benefit of the solid supporting cast — which Hyperion certainly had.

The two strongest roles were the parts Shakespeare added to the existing story (according to my copy of The Complete Works):

As the Nurse, a well-padded Dipika Guha just bustled her way into my heart. She spoke her lines with a certain sing-song quality that reminded me of the Granny on The Kumars.

And Sean Fredricks' Mercutio... Guh! It was more than red leather trousers that made him always worth watching (although that certainly helped). He brimmed with energy, deftly parrying every straight line that crossed his path with a nimble grace and rapier wit.

I can see why Samuel Johnson claimed that Shakespeare "was obliged to kill Mercutio in the third act, lest he should have been killed by him."   As I wrote yesterday, I'm not sure how seriously the association between Mercutio and Marlowe is taken in scholarly quarters, but I can definitely see the similarities between Mercutio and extrapolated (fanon) portrayal of Marlowe^*. [Of course, modern interpretations of Marlowe may also be shaped by the perceived relationship with the character, meaning my observations could just be circular references. I'd better stop this train of thought before I make myself dizzy.]

Morgan Potts as Benvolio was the perfect sidekick, foil, and all-around pal to Mercutio. They made a great comedy team, and were a delight to watch. An interview in The Crimson says Potts drew upon "his friendship with his rugby buddies" for the role, and it shows. The article doesn't specify what kind of injury sidelined him from his sport, but the athletic aerobicism of the three Montague lads — particularly on display in the Capulet party — was magnificent.

As Friar Lawrence, Tom Giordano exuded beatific patience, even while his cell was beset by suicidal teens. John Greene played Lord Capulet as a bluff and hearty fellow, while Alexandra Palma's Lady Capulet had an elegance and aloofness that bespoke a life of luxury. And as if to prove the adage that "there are no small parts, only small actors," Giselle Ty demonstrated exquisite comic timing as Peter the Servant, trying to always stay two paces behind a master in constant motion.

Indeed, everyone did an excellent job in milking the comedy in the first half — both in delivery of lines and body language. [With years of experience tending bar, Ian's become quite the critic of drunk scenes. As Benvolio and Mercutio, Potts and Fredricks were more than plausibly pissed (quite credibly crocked). High praise indeed. ;) ]

Fight choreography by Ted Hewlett was excellent — Ian observed that different characters had distinct fighting styles, suitable to their personalities. As described in the text, Zachary Sniderman's Tybalt wielded a sword with by-the-book confidence and competence. Romeo was mostly pointed passion. As for Mercutio, Ian quipped he never knew there was a style of "drunken rapier." Ian also recognized the influence of the Higgins Armory Sword Guild and hopes more theater companies will take advantage of their expertise.

Yes, there were a few flubbed lines, as is to be expected in amateur theater. Likewise, the location was subject to a lot of background noise which made some lines harder to hear. But those were minor distractions that didn't detract from our overall enjoyment.

On the whole, I am so glad to have seen this production. I recommend catching it if you can.