Terry Hands, RSC, 1989/90

Abstract

This production originated in the Swan theatre, which had been created as a venue primarily for the work of Shakespeare’s lesser-known contemporaries. The designer, Farrah, did little to interfere with the architectural simplicity of the theatre, with its bare wooden stage surrounded on three sides by an audience. Indeed, it is almost misleading to speak of a set design for this production at all. Farrah’s single significant contribution was to place the branch of a weeping willow overhanging Juliet’s balcony. The costumes were equally unobtrusive, with almost everyone dressed in beige and cream, so that it was almost impossible visually to distinguish the Capulets from the Montagues. Instead every change of mood and scene was achieved through lighting, often to striking effect. Two moments stood out for the subtle economy with which a mood of powerful lyricism was achieved. At the moment when Romeo and Juliet meet, the other guests at the ball were frozen in a warm amber glow, while the shared sonnet of the first exchange and the climactic kiss were picked out by a tight spotlight of white light. This is a device that had been used with similar success in Karolos Koun’s 1967 production. By freezing the background action the director is able to capture the fleeting triumph over time that is central to the lovers’ vow.