For a Shakespearean Mercutio I would cast someone similar to that of the modern day Mercutio. The only difference I think would be that a Shakespearean Mercutio would have be not as handsome as a modern day Mercutio. This is for the reason that the Shakespearean audience can identify that this character may not last till the end of the play. Because of his death I would make sure the modern day Mercutio would not be as handsome for the reason that modern day audience’s like to see a heroic death whereas in Shakespearean times people were so used to seeing people die it didn’t matter if they were ugly or handsome.
Very similar to the kind of actors I would cast, the types of costumes I would have the actors wear will differ from Shakespearean to modern day. In Shakespearean times I would not have the resources to get the best costumes possible. Another difference would that of people’s perceptions of what clothes are classed as ‘posh’ and what clothes are classed as something lower class citizens would wear. For the character of Prince Escales I would obviously want to make him look regal and powerful, as he is the ruler of Verona and of the characters involved in the play. For a modern day Prince I would give him long flowing velvet, gowns with white trim and velvet undergarments (shirt, trousers etcetera). This would show the great luxury’s he can afford. The colours I would use for him would deep purple’s and red’s and possibly with gold patterns running along the hem of his gowns to show his immense wealth. This would illustrate a great image of royalty and power. As soon as this character strides onto the stage you would know that he is of a noble descent. In Shakespearean times I would use the same colours (still portraying that sense of nobility) but I would not have the same materials at my disposal. Instead I would give silk robes and a fox scarf (a great symbol of wealth in Shakespearean times).
The colour I would use for both modern and Shakespearean Romeo would be white. This would not only stand out on a stage full of dark colours but also reflect on his personality. The white would stand for the fact that he is more interested in love than any family feud and for his innocence and his purity that he portrays throughout the play. The modern day Romeo would have cuffed, frilly shirts made of silk and tight white trousers again with frilly edges. The shirt would have to look very expensive (Romeo after all being the son of the Lord Montague). For Shakespearean times I would not have the same materials, so his shirt would be linen and probably not as expensive looking.
Both modern day Benvolio and Mercutio would have the same sort of silk shirts as Romeo (except probably not as lavish as the Lord’s son to show he is higher up in the Montague family). They would also have tight, frilly trousers as akin to Romeo. Benvolio’s shirt would be a dark blue to symbolise his conservative and calm nature. Mercutio’s shirt would be a burgundy red to portray the fieriness and the hastiness in the character. Red is also the colour of blood so this would symbolise blood, death and pain. All of these things happen to Mercutio in act three scene one.
For both Shakespearean Mercutio and Benvolio I would keep the colours the same. I would probably use linen shirts for cost reasons. Their shirts would not be as exquisite as Romeo’s nor would their trousers.
For Shakespearean and modern day Tybalt the colour’s I would use would be red and black. This would depict his swift temper and his ruffian attitude to the family feud. Him being also of a noble descent I would make sure his shirts looked expensive but not as expensive looking as Romeo’s (Tybalt only being the nephew of Lord Capulet). For a Shakespearean Tybalt I would use the same colours but again I would have to use linen instead of silk. I would also perhaps make Tybalt’s clothes look slightly more unkempt to symbolise his wild nature.
For a modern day set I would have many pleasures not enjoyed in a Shakespearean set at my disposal. I would have thatched Tudor houses lining the background with a couple of street lamps stood slightly in front. I would also make sure there is a flag in the set so that when Prince Escales enters people will be able to match the symbols on his garments to that on the flag. I would also place a small market stall, a well, a wheelbarrow and various other items on top of a cobbled path running along the set. When Prince Escales enters he would have a golden sceptre as well as a crown to give yet another impression that he is royalty (I would want to make it obvious to the extent that people do not even have to think about it they just notice he is royalty straight away). The main characters (the Prince, Romeo, Mercutio, Benvolio, Tybalt etcetera) would also carry regal duelling swords in golden sheaths. These props and set pieces would set the scene of an average market city with great effect. The various pieces would be scattered about the stage in no particular pattern to further enforce the image of an active city.
For a Shakespearean time play I would not have the items I would be able to use in a modern day production. I would have to have a basically bare background possibly with a wheelbarrow or a tiny market stall. The characters would use wooden swords. Prince Escales would have a wooden crown painted gold (or a similar colour). Much akin to a modern day production I would like to set the scene of a busy market city but without the correct resources I may have to set the stage slightly differently. If I looked at it from a different angle I could set the stage as something like a park. For that all I would need are a few plants and possibly a small bench.
For a modern day production lighting would not be a problem, as I would have many lights and equipment at my disposal. A Shakespearean play on the other hand would provide some major difficulties as they had no electricity and henceforth no lights! For the modern day production I would keep the stage well lit to begin with as there are no directions it would be natural to assume this is a normal day (if it were a rainy day there would most likely be some sort of directions for sounds of rain and possibly thunder). As the scene progresses though I would dim the lights bit by bit as the play nears its fatal duel. This would portray that the outcome of this argument is not a good one. Then when Mercutio and Tybalt begin to duel, I would have random beams of lights flashing across the stage so that the audience can only make out faint outlines of the characters. Then as Mercutio is wounded I would have the lights come on again full blast, then dim down again into complete darkness. Then the lights would return to normal to see Mercutio lying injured on the floor. This would accurately portray the frantic fighting and the desperation of the characters involved. It would also make sure the audience realise that this a main scene. When Tybalt returns to the stage I would not use the same procedure as I would for the other duel. Instead the lights would be on as normal. Each time the combatants swords clash the lights would black out, but only for a fraction of a second when they would return to their normal illumination. Again this would show how important this scene is to the play and how desperate Romeo is for his revenge. For the remainder of the scene the lights would remain at normal strength until prince Escales finishes making his final statement whereupon they would dim into complete darkness until the next scene begins.
For a Shakespearean production I would have to use more complicated methods of illuminating the stage, as I would not have access to any lights. One method I could use would be to place boards across the top of the stage, which would provide vital shade for certain areas of the stage.
At the beginning of the scene I would not have any boards covering the stage, giving the stage full light. However as the scene progresses (much akin to the method I would use in the modern day production) I would lay the boards across the stage, starting from the back and gradually continue until they reach the front of the stage therefore making it as dark as possible in daylight. This is how I would have the stage for Mercutio and Tybalt’s duel. However when Mercutio is slain I would remove the first few boards and let in more light so the audience will possibly assume that the terror is over. I would want to mislead the audience in this way because it would provide a much more fulfilling experience as they would keep on guessing what may happen in the events to follow. I would do the same for the Romeo and Tybalt duel as I think this method would work effectively and for the fact that I do not have many other options available to me during Shakespearean times. Much like the modern day production I would keep the boards normal until then end of the scene where they would steadily cover the stage once more as Prince Escales finishes making his judgement. Another way I could make use of light would be to stage the play at night and use candles and lamps. However this would more difficult to engage, as I would have to make sure the candles are kept lit and I would have to have people on stage moving the candles around as the scenes progresses and lighting them. This would be ineffective as the audience may confuse the men lighting the candles with the actors. This would also make the scene look disorganized and shambled to the audience.
The way the actors deliver their lines and they way they use body language is more important than what actor’s I cast, the costumes I give them and the props that are used, the way actors move and talk is more important than anything else. I will begin this section with the modern day version. At the beginning of the scene I would have Benvolio striding across the stage. He would not be striding pompously but striding as all-important people do. He would be making dramatic gestures with his hands as he delivers lines such “I pray thee, good Mercutio let’s retire,” (Act three scene one, line one.) He would say these lines both gracefully and almost wearisome (as if he is tired of the ongoing arguments). This would give the impression that he thinks they are safe at the moment from the dangers of fighting and that he is more interested in rest or entertainment than the feud. This would also back up his calm and conservative characteristics. Mercutio would be delivering his lines more passionately and heatedly. He would be swaggering almost cockily across the stage as if he half wants to fight any Capulet that steps his way. When Tybalt approaches Mercutio the line “Couple it with something; make it a word and a blow,” (Act three scene one, lines thirty-nine and forty,) he should deliver this line with a great level hatred and arrogance in his voice. His hand should be rolled into a fist in the direction of Tybalt so the audience realises these two have uttermost hatred for one another.
After Romeo enters and Tybalt is challenging him to duel Romeo should act scared. His shoulders should be hunched over and he should deliver his lines with a great sense of urgency, as if he knows that something terrible is about to happen and he desperately wishes to avoid it. When Mercutio challenges Tybalt instead of Romeo, Tybalt has one short line before the duel begins. It is a reply to Mercutio’s challenge. “I am for you.” (Tybalt, Act three scene one, line eighty-two.) He should deliver this line as if the thing he has been waiting for so long is finally going to happen. He should almost whisper the line so the audience knows that he is more than overjoyed to fight.
After Mercutio is wounded he makes a long speech in lines ninety-five to line one hundred and three. He should deliver this line in a slurred speech and occasionally staggering to show the audience that he is in serious pain. His movements while lying down should done trembling, and shaking. He could maybe reach out his hand as if he is grasping for something (possibly the thing he is about to lose, life itself.) This would make the audience realise that he is about to die.
After Mercutio is taken away to die by Benvolio, Romeo becomes possessed on gaining revenge against Tybalt. The lines “This day’s black fate on mo days doth depend: This but the woe others must end.” (Act three scene one, lines 119 and 120) are saying that the violence has not yet ended and that he will gain vengeance. The actor’s fists should be clenched up into balls. His head should be bowed to the floor. He should also almost whisper the words but maintain a tone in his voice that portrays a great level of hatred and sadness. He should exaggerate every word to make sure the message of the lines is put across. This will make sure the audience knows that this character is now beyond tears and grief, the only way his fury will be quenched is in the heat of battle and with the death of Tybalt. He wants the worst possible thing to happen to his enemy but does not know what that it is so instead he will kill him. That is the message I would hope to get across to the audience and I think that the techniques I have described will accurately portray that.
The speech Prince Escales delivers towards the end of the scene (lines one hundred and eighty-seven to line one hundred and ninety seven) should be delivered by the actor standing upright, back straight, one hand clenched around his sceptre tightly, the other unclenched facing towards the other actors. His voice should be firm, so that the audience know that his decision is final and that no amount of pleading and excuses will change it. He should also convey a certain amount of exhaustion in his voice so that we know he is weary of the violence and he will not accept it anymore. He should speak slowly but firmly to make sure the audience takes in every word he utters. This should give the projection of a Prince tired of having to set straight the quarrelling families time after time but also a firm Prince and one whose decision is final and one that will not be overturned effortlessly.
The way actors speak in Shakespearean times would yet again be dissimilar to the way a modern day production of actors would act. The same thing stands for body language and how that is used, the two times cannot use the same methods otherwise the audience would not understand what is occurring in front of them. At the beginning of the scene when Benvolio and Mercutio are discussing the Capulets they should speak to each other very dignifiedly to cement the fact that the two have the uttermost respect for one another. Mercutio should be striding swiftly but gracefully across the stage to show the audience he is more than willing to fight. The line “I pray thee, good Mercutio, lets retire,” (act three scene one, line one.) should be delivered almost snootily. He should deliver it as though his level of calmness has raised him above the grudge, as though he thinks far too much of himself to get involved with anything like a fight. His back should be straight, his arms raised making dramatic gestures and he should be walking in an almost clockwork motion. This would give the impression of a man who the audience will know is not willing to fight for something unless the circumstances are extremely significant. After Tybalt has entered the stage the line Mercutio says to him “Couple it with something; make it a word and a blow,” (Act three scene one, lines thirty-nine and forty,) should be delivered in a raised voice filled with anger. The audience must know that Mercutio is willing to attack and fight Tybalt so if the actor raises his voice to a bellowing sound they would realise this. Also Benvolio could be holding Mercutio back with his arm across him (his hand in an open palm so his cool headed nature is still conveyed) slightly preventing him from getting any closer to his enemy. Mercutio should have no particular movement, his swift graceful movements should be lost from the moment Tybalt enters the stage into an entanglement of anger. This will yet again make sure the audience know he is ready to engage with Tybalt in a duel and will make that scene all the more powerful.
After Romeo enters and Mercutio is wounded his last speech that he delivers to both Benvolio and Romeo should be delivered heroically and gracefully. He should be sounding as if he has been wounded for something he had no part in whatsoever. He should be making no movements apart from his lips, which should be gaping wide open as he delivers his lines. This would convey to the audience that this is his final moments and that he believes that he is a victim, which concurs with lines such as “A plague o’ both your houses!” act three scene one, lines ninety-eight to ninety-nine) and that he has done nothing to deserve this fate that now seems so close.
Following Mercutio’s exit with Benvolio Romeo yearns for revenge against the one that slew him – Tybalt. Romeo (because the audience in Shakespearean times were not as intelligent as a modern day audience) would have to lose control of his emotions. He should inject random sobs into his lines at certain points. He should be screaming so passionately that the audience know he desires the blood of Tybalt. The lines “This day’s black fate on mo days doth depend: This but the woe others must end.” (Act three scene one, lines one hundred and nineteen and one hundred and twenty) should be delivered in random tones. What I mean is that he should begin the lines with his voice not too far from hushed, but as the scene progresses so should his voice until it escalates into a bloodthirsty scream. He should yell the lines in a threatening manner. He should be staggering in random steps across the stage to create an illusion of half madness and half grief. This would certainly show the audience that this character once able to keep calm in dire situations has been pushed too far and that he will get his revenge.
After Tybalt is slain and Romeo flees Prince Escales enters the stage and makes a speech detailing just what his judgements are (lines one hundred and eighty-seven to line one hundred and ninety seven). These lines should be delivered with a rising level of anger in his voice. We know that the Prince has had to deal with quarrels before and he has promised death to any more that fight so the he would be both livid and grieved to sentence men to death and punishment. He should deliver he lines as if he is assured that he is better than everyone surrounding him. He is royalty so he knows that he has power over anyone living in Verona, he should try to convey this in his speech by never slurring and pronouncing every word accurately and definitively. He should make no movements apart from his facial expressions (his lip should be curled and his nose crinkled to depict his disgust at the day’s events). If the actor used all of my directions he would accurately portray a Prince pushed too far by the grudge and the audience would know that he is now making his final judgements and that nothing can alter his mind. “I will be deaf to pleading and excuses,” (Lines one hundred and ninety-two to one hundred and ninety-three.) The audience must know that this character knows he is above all present and that his decision is final and the instructions listed would portray that.
In both modern and Shakespearean times the audience would be extremely important to the production but in different ways. For example a modern day audience would judge characters as much on how they look or how they are presented as to how they speak, what they say or how they move across the stage whereas a Shakespearean audience would judge characters on their dialogue and how they say it more than a modern day audience would. This is because in Shakespearean times fine clothing was something few could enjoy, this meant that people judged each other by the things they each said and their actions. The audience are important to both productions however in the fact that in both modern day and Shakespearean times the characters in the play still have the same characteristics, they still speak the same lines and the same things happen to them, the only thing that changes is the way the audience interprets the performance. The message the play is trying to convey has never changed in the course of time but the way the audience understands it has. Today props, lighting, costumes and actors that more than look the part are needed to fill the roles required. Each of these things plays an equal role in determining the audience’s interpretation of the play as much as dialogue and body language does. The lines in the play are much more akin to the language that was spoken in Shakespearean times so the Shakespearean audience would be able to understand what the actors are saying without a great need for the perfect actors or the exact costumes needed. If the audience do not enjoy my performance of the play they would certainly understand it. By using costumes, lighting and an array of props I would be almost forcing the modern day audience to understand the characteristics of the participants and what is going on. By making more dramatic movements and emphasizing on lines longer the Shakespearean audience will unquestionably know what is happening throughout the performance. So even if they don’t enjoy my performance the audience will take away with them a great understanding of the characters and events that took place in the play.
As described above I am confident that my version of the play will not be boring but that it will be interesting, exciting and enjoyable for both audiences. In modern day scenes such as the duels the way the lights flash on and off will keep the audience guessing as to what has happened. The props on the stage will make sure they can understand that this is the set of a busy town. The actors I would cast in the roles would not only bring fans of those actors to watch it but they would keep them intrigued in the performance throughout the play - something that is vital if they are to have any understanding of the events taking place. The way some of the characters clash with each other not only in the events in the play, but in how they move, dress and speak would keep the modern day audience interested through the entire play. The Shakespearean audiences greatly enjoyed drama and terrible things happening to other people. The way the actors would move across the stage and speak melodramatically would keep them encapsulated for the duration of the play. Because I would have little access to props and basically bare minimum options for costumes I would have to rely on the actors themselves to gain the audiences attention and joy. Making overblown gestures such as those Mercutio makes as he is dying would be essential to maintain the audiences interest.
As I have noted before what the play is trying to tell the audience does not change but the way it tells the audience does. In my opinion the play is trying to inform the audience that love is the deepest and most complex of human emotions and that if it takes hold of you it can evoke all sorts of other emotions like hatred (Romeo’s hatred towards Tybalt significantly escalated after he found love with Juliet), sadness (when Romeo returns to Verona to find Juliet pretending to be dead), vengefulness (Romeo had eventually decided that he was going to avenge Mercutio or die trying) and many others. Romeo portrayed all of these emotions I have listed throughout the play mainly after he found love with Juliet. Even before he fell in love with Juliet Romeo felt sadness and loneliness because he was in love with Rosaline, something she did not return. This is what the play is tying to tell the audience and while how that is done may differ from one generation to the other I believe I have created two versions of the story that are exciting and interesting for their respective targets.