Scrap Paper Shakespeare's Romeo and Juliet
Features Raucous Comedy, Engaging Drama,
and Then Tear-Jerking Tragedy

Don't let anything like "I just saw a production of it a few months ago" stop you from attending the current production of William Shakespeare's Romeo and Juliet by Scrap Paper Shakespeare in the intimate space at Yours, Durham, located at 209 N. Gregson St.!

This one is special for a number of reasons. To quote Douglas Kapp's reaction to the show: "They have found so much of the humor that most performances miss -- it's like throwing gold nuggets on the stage."

The Play:

This is Shakespeare's famous tale of the pair of "star-crossed lovers." They meet, they fall in love, and they get married (in secret, because their families are mortal enemies).

Then a series of misfortunes leads to more than a few deaths, including their own.

The best word to describe director Emma Szuba's approach to this play is "imaginative." The first feather in her cap is the staging of the Prologue (which elicited applause from the 2 p.m. audience on Saturday, Aug. 24th).

Thereafter, we encounter serving men sitting in lawn chairs and drinking Corona® Light. We soon see a brawl in which a baseball bat and a brick are among the weapons. And then we watch as one young man whines about the "pangs of despised love" while his friend chuckles at him.

After a while, we meet a teenage woman with music blaring in her headphones. She soon has a conversation with her gorgeously dressed wine-drinking mother (and her earthy, ditzy nurse) that includes the subject of marriage.

Raucous comedy, then engaging drama, then tear-jerking tragedy ensue.

The Acting:

These actors know how to "play together well."

There is a powerful chemistry between Emma Roe's Juliet Capulet and Joe Perdue's Romeo Montague, and we see it grow and morph as we move forward. Infatuation, attraction, attachment, admiration -- we can read it the whole way. There is an almost immediate overwhelming tenderness between these two, and it never ceases to grow.

In Romeo's first appearance, Perdue manages to play Romeo's silly "love" for Rosalind without going overboard and looking silly. And later, when he switches gears at the sight of Juliet, there is a distinct difference between this new "love" and the former.

Regarding this Juliet, the first words that come to mind are lovely, likeable, and loveable.

Roe and Perdue also have unique connections with each of the other characters.

The brief interactions that we witness between Juliet's parents offer a sketch of their husband-wife relationship.

Chloe Oliver's Lady Capulet always has the sophisticated air that is implied by her impeccable clothing and is able to turn snarky at the drop of a hat. This character's nonverbal reactions to the words and actions of others deserve recognition. Oliver is also entertaining as Samson.

Simon Kaplan plays Capulet in a wide range of keys. Capulet's love of family is evident throughout, as is his awareness of decorum. Kaplan plays a less domineering, less authoritarian Capulet than many others that I have seen. This is most evident as the plot progresses in the wake of Tybalt's death. Pay attention, also, as Capulet learns "the rest of the story" in the final scene. Kaplan also expertly portrays the Apothecary, a vastly different character.

Nancy Huffaker deftly handles the role of Lady Montague and is downright hilarious as Juliet's Nurse. There is, however, a depth to the Nurse's character that becomes evident in her expressions, gestures, and hesitations when Juliet seeks her comfort in the wake of the order to marry Count Paris.

Note: This adaptation does not include a Lord Montague, so several of his lines have been reassigned to Lady Montague.

Andy Li shines as Friar Laurence. We can actually see his mental processes as he formulates his plans; it is often obvious that he is "between a rock and a hard place," and he easily draws us in. Li is equally on top of the role of Paris, and he plays a cute cameo as a servant in the Capulet household who ogles Juliet while she is dancing at the party.

Callie Banholzer makes a great Mercutio, playing this character's humor and wit to the hilt. The "Queen Mab" speech and the various "tough-guy" posturings are highlights. Banholzer also plays Abraham; Banholzer's Abraham and Oliver's Samson are a perfect pair for the opening scene.

Collins Wilson scores high marks as the ever-prideful Tybalt, especially since this Tybalt is a little more down-to-earth and less fiery than most Tybalts that I have seen -- his actions are always reactions rather than assaults.

Zoe Wright's Benvolio is on point. Especially poignant are her facial expressions and other nonverbal "asides," while other characters are verging on becoming caricatures of themselves. Note: This Benvolio handles the functions usually fulfilled by Romeo's servant in the final scenes.

Grayce Anne Mosier portrays Prince Escalus, Gregory, and Sister Joan (this adaptation's "Friar John"), delivering well with each. I have never before felt tears welling up during the Prologue to this play, and this is the first time that I ever felt myself deeply empathizing with the Prince.

The Tech:

This production makes excellent use of the small space. The few set pieces are easily moved to define various locations, and the balcony serves its purpose well.

Lighting design by Hannah Rostar and sound design by Emma Szuba are both very subtle yet effective.

Costume design (also by Szuba) is as thoroughly imaginative as every other aspect of this production.

And tip of the hat to stage manager Naima Said, fight choreographer Ian Winek, and dance choreographer Ria Matheson.

Nice Touches:

• The staging and activity during the Prologue.
• The cacophony of the brawl that drowns out the Prince's first few lines and a later cacophony that results from the news of Juliet's death.
• Little incidental "side actions," such as a servant offering a choice of glasses to Capulet while he is in conversation with Paris.
• Juliet's teddy bear and her headphones.
• The plethora of bawdy gestures and suggestive intonations.
• Juliet "talking to" her diary as she writes. Also the angelic beauty of her face as she steps into the lighting effect during the balcony scene.
• The photograph of Tybalt "Prince of Cats." (This one is a one-two punch.)
• The Nurse's paraphernalia: pepper spray, pocket fan, and whiskey flask.
• Such incidentals as R&J's bracelets, Friar Laurence speaking to his herbs and writing down his clever sayings, with a Bible and Rosary in appropriate places.
• Lord Capulet kneeling in silent prayer when he arrives at the scene of Tybalt's death.
• Friar Laurence's silly attempt to hide Romeo.
• Friar Laurence pouring a distinct amount of the potion into a smaller bottle.
• Pronouncing the word "only" as "one-ly."

Memorable Lines:

• "Why! My Lady Wisdom! Hold your tongue!"
• "Young men's love then lies not truly in their hearts, but in their eyes." (Friar Laurence pauses before the word "eyes.")P
• "Shall I speak ill of him that is my husband?"
• "There art thou happy!" (Spoken multiple times.)

• "Holy St. Brendan!"

And there are many more that are made memorable by the delivery.

From the Department of Picky-Picky:

• The "morning-after" scene begins with Romeo and Juliet just barely visible (to the house-left audience) due to the curtain at the back of the main acting area.
• The photo of Tybalt that appears earlier -- could it also appear in the scene that leads to the deaths of Mercutio and Tybalt?

The Bottom Line:

Scrap Paper Shakespeare's Romeo and Juliet is well worth attending. They have four more performances -- at 7:30 p.m. Aug. 30th and 31st and 2 p.m. Aug. 31 and Sept. 1st. Be there! And come ready to laugh, to sigh, to applaud, and to shed a few tears.

Come early enough to examine the "memorial" on the stage and to read the "Note from the Director" before the play starts.

William Shakespeare's ROMEO AND JULIET (In Person at 7:30 p.m. Friday, 2 and 7:30 p.m. Saturday, and 2 p.m. Sunday, Aug. 30-Sept. 1), directed by Emma Szuba and starring Joe Perdue as Romeo Montague, Emma Roe as Juliet Capulet, Callie Banholzer as Mercutio, Simon Kaplan as Capulet/Apothecary, Chloe Oliver as Lady Capulet, Collins Wilson as Tybalt, Nancy Huffaker as The Nurse/Lady Montague, Andy Li as Friar Laurence/Count Paris, Zoe Wright as Benvolio, and Grayce Anne Mosier as Prince Escalus/Gregory/Sister Joan, plus Swing Lizzie Reynolds (Scrap Paper Shakespeare at Yours, Durham in Durham). 2024 SEASON: https://scrappapershakespeare.org/shows. PRESENTER: https://scrappapershakespeare.org/, https://www.facebook.com/ScrapPaperShakespeare/, and https://www.instagram.com/scrappapershakespeare/. VENUE: https://www.yoursdurham.com/, https://www.facebook.com/yoursdurham/, and https://www.instagram.com/yoursdurham. DIRECTIONS: https://www.google.com/maps/. ROMEO AND JULIET (Five-Act Tragedy, written about 1594-96): https://www.folger.edu/explore/shakespeares-works/romeo-and-juliet/, https://www.bl.uk/works/romeo-and-juliet, https://www.shakespeare-online.com/plays/romeoscenes.html, https://www.shakespeare.org.uk/explore-shakespeare/shakespedia/shakespeares-plays/romeo-and-juliet/, https://www.britannica.com/topic/Romeo-and-Juliet, and https://en.wikipedia.org/wiki/Romeo_and_Juliet. THE SCRIPT: https://www.folger.edu/explore/shakespeares-works/romeo-and-juliet/read/. STUDY GUIDE (Utah Shakespeare Festival): https://www.bard.org/study-guides/romeo-and-juliet-study-guide/. WILLIAM SHAKESPEARE (Elizabethan and Jacobean English playwright and poet, 1564-1616): https://doi.org/10.1093/ref:odnb/25200, https://www.folger.edu/explore/shakespeares-life/, https://www.shakespeare.org.uk/explore-shakespeare/shakespedia/william-shakespeare/william-shakespeare-biography/, https://www.biography.com/authors-writers/william-shakespeare, https://www.britannica.com/biography/William-Shakespeare, and https://en.wikipedia.org/wiki/William_Shakespeare. TICKETS: $25 ($15 students, seniors, and artists), plus taxes and fees. Click here to buy tickets. INFORMATION: scrappapershakespeare@gmail.com. PLEASE DONATE TO: Scrap Paper Shakespeare.

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