In a production such as this one, finances are always a major factor in what you can and can’t do. However, financial constraint does not necessarily equal artistic constraint, and I often find that limited resources lead to greater creativity.
As this is a touring production we also have to be able to carry our set and props. about with us, and set them up in a short period of time in a variety of different spaces.
The biggest problem with Romeo & Juliet is the famous balcony. Everybody knows that there is a balcony scene, everybody is waiting for it, so you can’t just ignore it. Shakespeare never actually mentions a balcony, and neither Romeo or Juliet refer to it – the stage directions merely state that Juliet appears above at a window. However, we simply weren’t going to be able to afford, or tour with, a huge window that could be suspended above the stage, and so came the idea of the steel deck (rostrum). Juliet is still above Romeo, and they can’t quite get close enough to kiss, but their closeness does allow for a greater intimacy in the scene than is usually portrayed.
The steel deck then doubles very nicely for tables, altars, beds and tombs.
I like to keep things as simple as possible so the idea of one just one piece
of furniture being used throughout is very appealing to me. One of the reasons
for keeping everything simple is to heighten the power of the language and
the performances. It is the emotions of the people on stage that the audience
should focus on, and a simple set design means that actors have to work harder
to keep attention, and cannot rely on set and props. to help them engage the
audience. As the prologue says “…what here shall miss, our toil
shall strive to mend.”
