Romeo & Juliet

William Shakespeare

November 21st to 23rd and 26th to 30th

Directed by Zoë Chapman

Against a violent backdrop of civil conflict, an intense love emerges, more powerful and ultimately more destructive than the hatred that divides the lovers' families.

Romeo & Juliet has a youthful energy and some of Shakespeare's most stunning language.  For the past four centuries the universal themes of love, lust and family loyalty have appealed to audiences of all ages and all walks of life.  Without a doubt it is one of the greatest, and most tragic, love stories ever told.

Love is supposed to conquer all, but in an unjust world nothing is quite so black and white.

The Author William Shakespeare

Born and died on the same date - 23rd April - 1564 to 1616

England's greatest poet and playwright was born at Stratford-upon-Avon, the son of a tradesman and Alderman of Stratford, John Shakespeare in 1564. William, the eldest son, and third child (of eight) was baptised on 26th April 1564 and probably educated at Stratford Grammar School, but little is known of his life up to his eighteenth year. He did not go to University and his younger contemporary and fellow-dramatist, Ben Johnson, would later speak disparagingly of his "small Latin, and less Greek" in the eulogy prefaced to the First Folio. However the Grammar School curriculum would have provided a formidable linguistic, and to some extent literary, education.

Although, in 1575 when he was eleven, there was a great plague in the country and Queen Elizabeth journeyed out of London to avoid its consequences and stayed for several days at Kenilworth Castle near Stratford enjoying "festivities" arranged by her host Lord Leicester. It is probable these events may have made a strong impact on the mind of young William.

At the age of eighteen, he married Anne Hathaway, eight years his senior. Five years later he left for London. William worked at the Globe Theatre and appeared in many small parts. He first appeared in public as a poet in 1593 with his Venus and Adonis and the following year with The Rape of Lucrece. He became joint proprietor of The Globe and also had an interest in the Blackfriars Theatre.

The play writing commenced in 1595 and of the 38 plays that comprise the Shakespeare Cannon, 36 were published in the First Folio of 1623, of which 18 had been published in his lifetime in what are termed the Quarto publications.

Love's Labour's Lost and The Comedy of Errors appear to be among the earliest, being followed by The Two Gentlemen of Verona and Romeo and Juliet. Then followed Henry VI, Richard III, Richard II, Titus Andronicus, The Taming of the Shrew, King John, The Merchant of Venice, A Midsummer Night's Dream, All's Well that Ends Well, Henry IV, The Merry Wives of Windsor, Henry V, Much Ado about Nothing, As you like it, Twelth Night, Julius Caesar, Hamlet, Troilus and Cressida, Othello, Measure for Measure, Macbeth, King Lear, Timon of Athens, Pericles, Antony and Cleopatra, Coriolanus, Cymbeline, A Winter's Tale, The Tempest, Henry VIII and The Two Noble Kinsmen.

When he retired from writing in 1611, he returned to Stratford to live in a house which he had built for his family. His only son, Hamnet died when still a child. He also lost a daughter Judith (twin to Hamnet), but his third child Susanna married a Stratford doctor, John Hall and their home "Hall's Croft" is today preserved as one of the Shakespeare Properties and administered by the Shakespeare Birthplace Trust.

In 1616 Shakespeare was buried in the Church of the Holy Trinity the same Church where he was baptised in 1564. Tradition has it that he died after an evening's drinking with some of his theatre friends. His gravestone bears the words:-

Good frend for Jesus sake forebeare,
to digg the dust encloased heare,
Bleste be ye man yt spares thes stones,
And curst be he yt moves my bones.

Continuing The Bench's love affair with Shakespeare :

The Play Romeo & Juliet

On its first appearance in print, in 1597, Romeo and Juliet was described as “an excellent conceited tragedy” that had “been often (with great applause) played publicly”; its popularity is witnessed by the fact that this is a pirated version, put together from actors' memories as a way of cashing in on its success. A second printing, two years later, offered a greatly superior text apparently printed from Shakespeare's working papers. Probably he wrote it in 1594 or 1595.

The story was already well known, in Italian, French and English. Shakespeare owes most to Arthur Brooke's long poem The Tragical History of Romeo and Juliet (1562), which had already supplied hints for Two Gentlemen of Verona; he may also have looked at some of the other versions. In his address 'To the Reader', Brooke says that he has seen “the same argument lately set forth on stage with more commendation than I can look for”, but no earlier play survives.

Shakespeare's Prologue neatly sketches the plot of the two star-crossed lovers born of feuding families whose deaths “bury their parents' strife”; and the formal verse structure of the Prologue-a sonnet-is matched by the carefully patterned layout of the action. At the climax of the first scene, Prince Escalus stills a brawl between representatives of the houses of Montague (Romeo's family) and Capulet (Juliet's); at the end of Act 3, Scene 1, he passes judgement on another, more serious brawl, banishing Romeo for killing Juliet's cousin Tybalt after Tybalt had killed Romeo's friend and the Prince's kinsman, Mercutio; and at the end of Act 5, the Prince presides over the reconciliation of Montagues and Capulets.

Within this framework of public life Romeo and Juliet act out their brief tragedy: in the first act they meet and declare their love-in another sonnet; in the second they arrange to marry in secret; in the third, after Romeo's banishment, they consummate their marriage and part; in the fourth, Juliet drinks a sleeping draught prepared by Friar Laurence so that she may escape marriage to Paris and, after waking in the family tomb, run off with Romeo; in the fifth, after Romeo, believing her to be dead, has taken poison, she stabs herself to death.

The play's structural formality is offset by an astonishing fertility of linguistic invention, showing itself no less in the comic bawdiness of the servants, the Nurse, and (on a more sophisticated level) Mercutio than in the rapt and impassioned poetry of the lovers. Shakespeare's mastery over a wide range of verbal styles combines with his psychological perceptiveness to create a richer gallery of memorable characters than in any of his earlier plays; and his theatrical imagination compresses Brooke's leisurely narrative into a dramatic masterpiece.

Stanley Wells
General Editor, The Oxford Shakespeare

The Bench Production

Cast

Bench production flyer

The Capulets:

CapuletJaspar Utley
Lady CapuletSue Dawes
JulietJessica Grindley
TybaltAndrew Caple
NurseIngrid Corrigan
PeterLiam Penny
SampsonRichard Le Moignan
GregoryMartin McBride
Cousin CapuletDarren Corps

The Montagues:

MontagueAlan Welton
Lady MontagueJenny Taylor
RomeoNathan Chapman
BenvolioPaul Davies
BalthasarFrancine Huin-Wah
AbramVicky Hayter
PageEllie Dawes

The Others:

PrinceSimon Walton
MercutioMark Wakeman
ParisDavid Penrose
Friar LaurenceJohn Scadding
Friar JohnMartin McBride
ApothecaryEllie Dawes
ChorusSusie Borton
WatchmenRichard Le Moignan, Martin McBride, Vicky Hayter
ServantsHeidi Brockhurst, Liam Penny

Crew

Backstage Kymberleigh Anderson, Paula Gilfillan and Fiona Fairhurst
Costumes Megan Utley, Lucy Haigh & Jenny Taylor
Props Alice Corrigan & Ellie Dawes
Masks Megan Day & the cast
Banners & Flags Sue Dawes & Ellie Dawes
Lighting Designer Jacquie Penrose
Lighting Operator Derek Callam
Sound Operator Sharman Callam

Review Torches Burn Bright With Surprises

Novice director Zoë Chapman coaxes some fine performances from her Bench Theatre cast.
For example, if there were one person I would never have cast as Mercutio it is Mark Wakeman.  He is - to my eye - everything Mercutio isn't.  Completely wrong.  But Chapman has gone against my better judgement and proves that her better judgement is superior to mine.
Wakeman's performance is, quite simply, superb.  He is the most funny, original and inventive Mercutio I can remember.
Nathan Chapman's Romeo is on pretty solid ground, too.  The emotional range is certainly there, but it would be good to see some more of the quieter playing at times.
John Scadding's completely dotty Friar Lawrence gets the prize for verse-speaking, though.  Again I have never seen the character played like this - but it works.  Warm, funny and completely barking.
And mention for Jessica Grindley, who is apparently making her debut with the mother of all parts for girls her age.  She speaks Juliet's lines clearly and with great understanding, but needs to learn the art of texture.
There is clearly life in the old amateur stage yet.

James George, Portsmouth News Friday 22nd November 2002.