A whimsical reinvention of Shakespeare’s tragic love story, complete with rhymed limerick, creative word-play and fantastical farces.
Cast of Characters
NARRATOR #1…….PAULINE MUJAR
NARRATOR #2 ….....ANAROSE ESMILLA
PROLOGUE.……..MARTHA DOROTHY PANELO
SAMPSON ………..CHELO PAVERICIO
GREGORIA ………MARY GRACE DE VELA
ABRAM ……….EDWIN DELA CRUZ
BALTHASAR …......MARTIN BALLON
CAPITULATE (LORD) ……..JEMUEL RAMIREZ
LADY CAPITULATE ………STACY KATE ZABALLA
MONOTONE (LORD) ……….IAN PEREA
LADY MONOTONE ………CYRENE SALE
THE PRINCESS ……….MA. ISABEL LANUZO
ROMEO ………JESSE RAYMOND AYCARDO
BENVOLIA …….. MA. KATRINA MAYOR
MERCUTIO ………KEVIN MANALO
PARIS ……….MARTIN BALLON
SERVANT OF CAPITULATE ……….MA. CHRISTINA LUCES
NURSE ………. MARY JOY RESARI
JULIET ………MA. LORIANNE DOMOPOY
TYBALT ……...CHRISTIAN KAY MAGDAONG
MONK LARRY ……..SCHMITT YANZON
Setting- An empty stage.
The Reinvention of Romeo and Juliet
Remake by: Stacy Zaballa
(The two NARRATORS enter the playing area. They dress and behave similarly.)
NARRATOR #1. Dear Ladies and Men folk!
NARRATOR #2. Women and Gents!
NARRATOR #1. You’re people of culture and true common sense.
NARRATOR #2. You know what you know, and you like what you like.
NARRATOR #1. Like singing a song, or riding a bike.
NARRATOR #2. A long masterpiece!
NARRATOR #1. It’s the greatest!
NARRATOR #2. You bet!
NARRATOR #1. And topping the list…
BOTH. Romeo and Juliet!
NARRATOR #2. It’s Shakespeare’s great classic.
BOTH. And writing that stuff is tough.
NARRATOR #2. Sublime in its span, no thing is more artful.
NARRATOR #1. It deserves honors and applauds by the audience.
NARRATOR #2. The play is just perfect for you and us
NARRATOR #1. Naught is wrong unless you understand
BOTH. (Glancing at each other and then to the audience) Understand?
NARRATOR #2. The play’s still great, so we need not repeat it.
NARRATOR #1. But, you need to be Albert Einstein just to read it.
NARRATOR #2. Now, don’t be mistaken, we love William Shakespeare.
NARRATOR #1. But, in this new century he’s not very clear.
NARRATOR #2. Yet, only in admiration, to him our great hero, Do we pull "The Bards" back to our level, zero.
NARRATOR #1. We’ve shortened the play and changed some names but made it rhyme still. And shaky will like it still.
NARRATOR #2. A rhyming tetrameter is brought quite useful,
NARRATOR #1. But, could it make the play sound a bit Dr. Seussful?
NARRATOR #2. …And what’s wrong with that? Why, as sure as we’re standin’- Seuss is good too, and most folks understand him.
NARRATOR #2. A prologue is given to the top of the play.
NARRATOR #1. A paragraph giving the whole plot away.
NARRATOR #2. It must be important; there must be a reason- for Shaky to put it there.
NARRATOR #1. Our Prologue’s addressed…
(From offstage, suspended by a long stick, a dress on a hanger appears. Being misunderstood, and annoyed, NARRATOR #2 reiterates/calls again.)
-Addressed!
(The dress is pulled out of sight and the character of the PROLOGUE makes a leaping entrance.)
-Our Prologue’s addressed, so let’s watch and see…
NARRATOR #1. This lamentable,
NARRATOR #2. Horrible!
NARRATOR #1. Gross, comedy.
(NARRATOR #2 nudges NARRATOR #1, who then realizes her mistake.)
-(Oh!) Tragedy.
(The PROLOGUE crosses the playing area and continues her speech to one side, because there will be action taking place behind her.)
PROLOGUE. Verona’s the place from where our play is picked. Two families lived there, and man, they were ticked/instant.
(Two distinct/seperate groups of players materialize behind the PROLOGUE, representing the two feuding houses of CAPITULATE and MONOTONE. Both groups stand there, perhaps in fighting stance/posture, looking "ticked.")
PROLOGUE. Their ancient grudge match happened before our story, so long long ago I cannot recall. And rekindle/revived hatred made their feud more gory.
(The two families growl at one another, or generally show their hatred, still in the frozen fighting stance.)
Straight from the mouths of my ancestors too, I do get their story.
(LADY CAPITULATE and LADY MONOTONE, both visibly pregnant, walk into their respective family huddles, which conceal /hide them. However, Lord Monotone throws a rock into Lord Capitulate’s direction that angered his wife, Lady Capitulate. Lady Capitulate begins to attack the Monotones but Lady Monotone came rushing to her too. They fight until their big tummies went OUCH. They were hurried to the nearest Hospital. )
(A curtain separated both of them as they give birth. Their respective husbands accompanied them- looking worried. Then kid one and two popped out.)
(Lady Capitulate’s baby was a baby girl and she named her Juliet. Juliet is sucking on a bottle. While Lady Monotone’s baby was, a baby boy and she named him Romeo. Romeo sucks on a pacifier.)
(Then Lady C. and Lady M. will leave both Romeo and Juliet alone. The two babies will see each other, will blush, and will exchange their bottle and pacifier. One or two persons will hold their thoughts in a piece of paper saying:
(-ROMEO; "I like you. You’re cute." JULIET; "I know. You’re cute too.")
(Then the two mothers will enter again without their hubbies and will grab her respective child. They sneer to each other.)
PROLOGUE. (Goes to center stage)
As a result of their parental strife, their families to fighting and feuding were fettered/tied. But somehow, the two lovebirds met each other ever since.
(PROLOGUE exits. NARRATOR #1 enters carrying an odd musical instrument.)
(NARRATOR #1 enters as a boxing announcer. A microphone drops from the ceiling. She speaks into it.)
NARRATOR #1. In this corner, here are Sampson and Gregory, from the house of Capitulate; they were born ang-o-ry. And representing the house of Lord Monotone, Abram and Balthasar—a tenor…
ABRAM. (High voice :) Hi!
NARRATOR #1. (To Bathasar)…And baritone.
BALTHASAR. (Low voice :) Hi!
(A bell rings and the match starts. A seemingly boxing match)
ABRAM. I won’t let you win, you heck!
SAMPSON. And me too you buff!
BALTHASAR. I will rock your world!
GREGORIA. Then what are you waitin’ for? Fight in!
(They fight in slow motion as NARRATOR #2 enters and speaks.)
NARRATOR #2. A giant brawl started, you wouldn’t believe it,
(CAPITULATE and MONOTONE came to see it.)
CAPITULATE (LORD). I have with me my long sword, the one that cuts deep. While I’m preparing, I’ll yell—"Monotone, you’re a creep!"
MONOTONE (LORD). (In a monotone voice :) You villain Capitulate! I’m more than the man and you’re the creepiest, creep in the land!
CAPITULATE (LORD). (To Lady Capitulate:) Hmmm. The creepiest
creep. Does he have a point there?
LADY CAPITULATE. He’s lying my love you must never surrender.
(Enter NARRATOR #1.)
NARRATOR #1. Enter the princess, royal and wise,
(The PRINCESS enters. All fighting stops and all eyes are on His Majesty.)
She’s had about all she can take from these guys. A crusader for peace, she stops the fight, And everyone listens, ’coz they know she’s right. She pauses and makes the most eloquent speech.
THE PRINCESS. Will you jerks knock it off? I’ve been trying to sleep.
NARRATOR #1. Upon hearing the princess’ great message of virtue, the crowd all dispersed, it was almost past curfew. Only Lord and Mrs. Monotone stayed.
MONOTONE. Where’s our Romeo? I’ve not seen him all day. Why won’t he fight in the brawlslike the others?
LADY MONOTONE. He spends his time day dreaming, why should we bother?
(ROMEO enters. He’s pathetic. His parents watch him speak.)
ROMEO. Show me a mistress that is passing fair, Where I may read who passed that passing fair. She is too fair, too wisely too fair. It must be unfair to be passed at the fair. ’Coz fairs, they don’t care whose passing them rarely. Even the fair will pass rarely but barely. My love is fair, stripped bare, and cooked rare, But, fair cupid steals my bliss, so I despair.
(Romeo’s parents exit shaking their heads as if to say, "Where did we go wrong?" ROMEO exits in the other direction.)
NARRATOR #1. That was young Romeo, kid number one but as we can see, he’s not having much fun.
(She holds up a bottle labeled "Sneezle Fruit Juice.")
Perhaps he could use some red Sneezle Fruit Juice.That’s the best juice when your mind’s on the loose.It’s guaranteed for ten thousand—six uses.
(NARRATOR #1 exits. NARRATOR #2 enters.)
NARRATOR #2. Meanwhile at the Capitulate place, There’s a suitor for Julie and he’s with her dad.
(Enter CAPITULATE, PARIS, and SERVANT OF CAPITULATE. NARRATOR #1 exits.)
PARIS. Capitulate! I am the man for your daughter.
CAPITULATE. I don’t think you’ll do.
PARIS. But who could be hotter? Besides me who’s like prince charming?
CAPITULATE. (To the SERVANT:) Does he have a point there?
(The SERVANT nods Lord Capitulate will look unbelievable..)
(To the SERVANT:)
Young man go and get All of these people whose names I have writ.
(CAPITULATE hands an invitation list to the servant and then exits with his arm around PARIS.)
SERVANT OF CAPITULATE. Before I can find all the people and greet ’em, I need to find help from someone who can read ’em.
(Enter ROMEO and BENVOLIA. ROMEO is chanting his same pathetic litany. BENVOLIA is annoyed by it.)
ROMEO. …’coz fairs, they don’t care whose passing them rarely. Even the fair will pass rarely but barely. My love is fair, stripped bare, and cooked rare, BOTH. But, fair cupid steals my bliss, so I despair.
BENVOLIA. Romeo, I know your heart has been broken, Because on this matter you’ve endlessly spoken. And I’ve tried my best to be philanthropic, But, cousin, I think you’ve exhausted the topic. This tether to sadness I think you must cut, Or, if you don’t will you please just shut up?
ROMEO. Benvolia, it is so rare to forbear…
BENVOLIA. (Interrupting him:/to servant) Hey buddy! What’s up? Can we help you there?
SERVANT OF CAPITULATE. Sure enough, if there is help then I need it, ’coz I‘ve got this list here, and I just can’t read it. To find a strong reader is what I’ve been hoping…
ROMEO. (Taking the list:) I’ll read it to you, it will keep me from moping.
(He reads:) These folks can come to Capitulate’s party:
Smarty Martino and his boy named Arty,Bronco Buck Billy, and Buck Billy Buff,And Lady McDinky, McDucky, McDuff,John Jimmy Jack Jamerson, from Katmandu,Mercutio and Winnifred Winnie Waters,Old Uncle Perk and his ninety-six daughters, Dave from Topeka, and Lady Von Rybald,Rosaline, Valentine, Livia, Tybalt,Anyone named Gordie or Tim or Melissa,Can come to this bash, if you can’t then we’ll miss yah.
(Finished reading, he says to SERVANT:) This party sounds great.
BENVOLIA. Like the best of the best.
SERVANT OF CAPITULATE. If you’re not a Monotone, come be our guest.
(The SERVANT exits.)
BENVOLIA. Romeo, we’ve got to go crash this wingding/party. There’s sure to be beauties to make you even sing.
ROMEO. This party will never cure my broken heart but, I’ll go along with you to take your part.
(ROMEO and BENVOLIA exit. Enter NARRATOR #1.)
NARRATOR #1. Meanwhile, back at the Capitulate place- We shall meet Juliet full of splendorand grace.
(Enter JULIET. She’s asleep. LADY CAPITULATE and NURSE enter from other side of playing area. NARRATOR #1 exits.)
LADY CAPITULATE. Nurse where is Juliet? Now where could she be? I want my daughter, so lead her to me.
NURSE. Oh, little plum dumplin’, oh, sweet puddin’ pie. Where’s my fragrant blossom—come out don’t be shy. Oh little love kitten, thou sweet kitty kitty Answer my call and quit hiding, you emokitten!
JULIET. (From the floor:) How now? Who calls?
NURSE. (Helping her up:)Get up off the floor! It’s your Mother, she’s waiting just outside your door.
JULIET. (A bit bewildered from the fall:) Mom?
LADY CAPITULATE. Yes! It’s I. I’m your own dearest Mother. I’ve been called the same by your sisters and brother. I meant to say that when I said, That I am your Mother, One-hundred percent.
JULIET. I suppose this is a moment I’ll cherish.
LADY CAPITULATE. Juliet, you are to marry young Paris.
JULIET. I’m not yet 18. Is there some space for doubt?
LADY CAPITULATE. I married young, and look how I turned out.
(LADY CAPITULATE strikes some sort of cheerleader or beauty pageant pose. JULIET is disgusted.)
NURSE. He is so handsome. He’s a man of wax.
LADY CAPITULATE. Here is his picture. He sent us a FAX.
(Hands JULIET the fax picture. It isn’t flattering.)
We’re having a party, and there you can meet him.
NURSE. He’s so delicious, you’ll just want to eat him.
(They exit. NARRATOR #1 and NARRATOR #2 enter.)
NARRATOR #2. On their way to the party Benvolia and Romeo, Meet up with their friend & Zip Zip Shabang, also known as Mercutio.
(Enter ROMEO, BENVOLIA, MERCUTIO. They are dressed for a costume party. ROMEO is wearing a visor.)
BENVOLIA. (To ROMEO:) Forget this girl who won’t return your affection. Dance with some others make a new selection.
MERCUTIO. Yes, gentle Romeo, we must see you dance.
ROMEO. My heart is too heavy. There isn’t a chance.
MERCUTIO. You love sick dreamer, your dreams aren’t all dreamt. Each man sees a new day and you’re not exempt.
(MERCUTIO pulls a flat cd from his pants)
It’s time to par-tay!
(He handed the cd to one of the servants. Punk music began to play. CAPITULATE (LORD) enters)
CAPITULATE. Good evening Gents—there’s plenty to eat, (Capitulate’s party members enter the playing area dancing to mellow party music playing softly. The ladies wearing high heels sandals. JULIET is in the party group.) And ladies who’ll dance despite their heels,All through the night to dance their feet.If I were a youngster you bet I’d be swaying Hey, wait! Could that be true?Do I have a point there? I certainly do.
(CAPITULATE continues—capitulating:)
Good evening Gents—there’s plenty to eat, And ladies who’ll dance despite the heels on their feet.
(JULIET and ROMEO are both downstage but on opposite sides of the stage. ROMEO notices JULIET.)
ROMEO. Ei-hotchee-mama, Growl, Whoo! Hubba-hubba! That girl is a babe or my name is dumb bubba.
(ROMEO pulls his visor down over his eyes to conceal his identity; he goes to JULIET and commences flirting. An alarm goes off. TYBALT rushes down stage from the party group.)
TYBALT. My Monotone alarm just gave the alert! I keep it hidden right under in my shirt. It detects Monotones. It’s never been wrong. And this one is foolin’ where he don’t belong. This brazen young trespasser needs to be beaten.
CAPITULATE. Dear nephew Tybalt what’s wrong with you?
TYBALT. (Points:) Uncle your house has a monotone there.
CAPITULATE. Leave him alone.
(ROMEO takes his visor off for a second and runs his fingers through his hair.)
Wow! Does he have nice hair!
TYBALT. But uncle, that’s Romeo, Monotone’s son!
CAPITULATE. Lighten up boy I’m not done having fun. I know not to kill him, I know when to Besides let’s look on the bright side, there’s always the morrow.
(CAPITULATE goes back and dances again. TYBALT falls back and watches ROMEO like a hawk. ROMEO grabs JULIET’s hand and brings her to the center of the playing area.)
ROMEO. Please, don’t think I’m advance, but I think you’re hot!
JULIET. (Aside:) I can’t see his face is it worth it or not?
(ROMEO lifts his visor.)
ROMEO. I have twelve billion, sixty-two million and sixty, Hormones and all of them want you to kiss me.
JULIET. Hey, you’re kind of cute, okay, here, hold my gum first. It’s raspberry, lima bean, sneezle fruit, bratwurst.
(They kiss.)
ROMEO. Wow! Hey, you’re right, that is good tasting gum.
NURSE. Your mother would like a few words with you, hon.
(NURSE grabs JULIET by the arm and sends her back to LADY CAPITULATE who is standing with PARIS. ROMEO pops Juliet’s gum in his mouth.)
ROMEO. Who is her Mom, if I may be so bold? Quickly, please tell me before I get old.
NURSE. Her Dad is the host, who bought the main course dish you ate. Her Mother’s no other than Lady Capitulate. Juliet is her name and she is the fairest. But don’t get ideas. She’s marrying Paris.
ROMEO. She’s a Capitulate what rotten luck!
BENVOLIA. (Emerging from the party:) Romy, we’re outta here, this gig is up! We mustn’t stay here, we have to go home-e-o.
JULIET. (To the NURSE:) What is his name?
ROMEO. (With a dashing pose:) There are those who call me Romeo!
(Everybody exits. NARRATOR #1 enters.)
NARRATOR #1. Needless to say Romy’s heart-ache was done. He met a new girl and she had good gum. All of the guests from the banquet had parted, But not Romeo, he was just getting started.
(ROMEO runs on.)
ROMEO. How can I leave here when she holds my heart? My importance’s, blood-pumping, chest body part.
(ROMEO dashes to the back of the curtain and stands as if to hide. Enter BENVOLIA and MERCUTIO.)
BENVOLIA. Yo, Romeo yo! Where did you go?
MERCUTIO. He went home to bed, that’s where I’m gonna go.
BENVOLIA. But, I saw him running back toward the feast.
MERCUTIO. Well that can’t be right, ’coz his bed is due East.
BENVOLIO. I’m telling you he didn’t go home to bed.
MERCUTIO. My friend, no offense, but you need a new head.
(They exit. JULIET enters close to her window and underside it, a ladder. She is contemplating.)
ROMEO. Coming back to this place may seem capricious, But, I just can’t help myself, she’s gorge-o-licious.
JULIET. (whispering gracefully into the night.) Oh, Romeo mah baby-o Wherefore art thou, Oh Romeo? I just can’t get enough. Forsake your name, or else I’ll forsake mine, But, if I forsake mine there’s a ten-dollar fine. My tap dancing lessons will prob-ly get cancelled, No more T.V., root beer floats, no more Seinfeld. I might get grounded for three or more hours, So, if there’s a heart to love let’s make it yours.
ROMEO. (On one knee below the ladder:)
She speaks to herself through her self-speaking self. No thing is more useful to speak secret stuff. It makes it all louder so others can know too. Oh, Juliet, my Juliet, you’re a pearl of great price. You’re like two pearls only much, much, more nice.
JULIET. (looking down to her window) Who is that? Yo! Romeo, Is that you?
ROMEO. Yes, it is I-your Romeo, that is true. I heard your completely self-speaking speech, and though it’s silly I don’t ever care. And I love you, my love, just as sure as you’re born.
JULIET. Let’s find the preacher!
ROMEO. Let’s get attach tomorrow. Enough of this fighting…
JULIET. …This feuding…
BOTH. This Sorrow.
ROMEO. Kiss me once more and send my lips to heaven!
JULIET. I can’t anymore tonight, It’s past eleven.
ROMEO. (Scratching his head:) Well it couldn’t hurt more if we kissed tonight. Just as the moon shines up above and when the sun lights the morn, we shall elope.
(They kiss .Romeo run away blowing kisses to his Juliet. Enter NARRATOR #2. Enter MONK LARRY on the opposite side of the playing area.)
NARRATOR #2. So Romeo ran to the home of Monk Larry, Not monkey Larry…he’s not quite that hairy, He’s just a monk, he’s the monkiest one That Romeo knew and could get the job done.
(Enter ROMEO.)
ROMEO. Oh good! Monk Larry! I’m glad that you’re here.
MONK LARRY. (In a Bronx accent:) Where else would I be? I’ve not left here in years. You sure are chipper. Last time I saw you, You were blubbering, moping, and singing the blues.
ROMEO. That was the old me. I’m new and improved. I’m a hip-hoppin’, happenin’, cool, righteous dude!
MONK LARRY. How can I help you, my dude filled with glee?
(ROMEO grabs MONK LARRY’s hand and gets down on one knee.)
ROMEO. I need your consent, Monk. Will you marry me?
MONK LARRY. (Grabbing him by the throat :) Listen punk! I am a monk, don’t you get it? I live all alone and I’m doing a custom.
ROMEO. (Choking:) No, No! I meant to say, there’s a girl that I’ve met as of late, Though she ‘s the daughter of Capitulate but our love is true.
MONK LARRY. Are you sure?
ROMEO. Yes indeed. One-Hundred and Ninety percent guaranteed.
MONK LARRY. (Aside to the audience:) If I marry the girl to this Monotone dude-ling, It may end the war, all this troublesome feud-ling.
(To ROMEO:) Okay, my young pup; I’ll tie your knot, But, if you’re eloping, then you’ll need a plot.
(MONK LARRY puts his arm around ROMEO and they exit. Enter MERCUTIO and BENVOLIA.)
MERCUTIO. So, Romeo never came home late last night?
BENVOLIA. He never came home and he’s still out of sight. Now, Tybalt the nephew of Capitulate, challenges him to a bumballoon fight.
MERCUTIO. A bumballoon fight? That’s the worst! That would mean curtains for poor Romeo. Tybalt’s the best bumballoonist around, I’ve seen him bumballoon twenty men down. I can hold my own at true bumballooning, But, lovesick young Romy’s been too busy crooning.
BENVOLIA. Here he comes now! Hey Romy, what’s up? You didn’t go back to the place where you live.
(ROMEO enters.)
ROMEO. There’s an optometrist whose name is Cupid, He’s opened my eyes, and made me less stupid. I met a new girl, she’s the best of the best. She passed that Romeo "hot mama" test.
(Romeo’s friends chime in with masculine banter.)
MERCUTIO. Heeeey, well okay, well okay hey, I say…
BENVOLIA. Heeeeeey!
ROMEO. Yippy-Yeeeea!
MERCUTIO. Yippy, okay ei-yeeea!
(Enter NURSE.)
NURSE. Has anyone seen Romeo Monotone? I need to see him before I go home.
(Romeo’s friends think that the Nurse is Romeo’s new girlfriend.)
MERCUTIO. (Winking and nudging ROMEO:) Hey there! Not bad, she’s a fine catch old son.
BENVOLIA. I guess I was picturing someone more young.
MERCUTIO. (Love-stricken by the nurse:) Wow! She’s a babe alright, look at those curls.
ROMEO. What! Are you mental? That’s not the new girl.
(MERCUTIO is dumbfounded.)
NURSE. (To ROMEO:) Juliet, my mistress inquires about you, But, I think she’s missing a half-dozen screws. As her nurse, I must ask, what makes you so great? Why do you deserve Miss Capitulate?
ROMEO. I make a great milkshake; all my friends say so,
NURSE. That’s good enough for me, so where could we meet you?
ROMEO. We’ll meet at Monk Larry’s place later today. He’ll marry us there, and then we’ll say "hurray!"
NURSE. I love small weddings. What could be humbler?
(The NURSE exits.)
MERCUTIO. (Following the nurse:) Excuse me there Miss, can I get your number please?
(BENVOLIA and ROMEO exit—looking puzzled by MERCUTIO. NARRATOR #1 enters. ROMEO reenters with MONK LARRY.)
NARRATOR #1. So Romeo went back to Monk Larry’s house. Not a creature was stirring, not even…
ROMEO. (Screaming in horror:) A Mouse!
(MONK LARRY is holding a stuffed pet rodent.)
MONK LARRY. It ain’t a mouse it’s my pet dodrent helper.
(MONK LARRY raises his arms and sniff.)
He always eat clean, my stinky, bad habit.
ROMEO. I’m just so nervous my stomach’s a wreck. Where could they be?
MONK LARRY. Just a sec. I’ll go check.
(MONK LARRY exits.)
ROMEO. I do not like his stinky clothes, I do not like his stinky place, I do not like them near or far, I do not like them in a car, I do not like them in a tunnel, I could not push them through a funnel, I only love the girl I met, Juliet.
(JULIET and NURSE enter.)
Here she comes. Hey Juliet!
JULIET. I’m sorry that we are late in getting here. I had to use eight cans of spray in my hair.
NURSE. So, don’t light a match!
ROMEO. No, I won’t. I vow.
JULIET. So, where is the monk?
ROMEO. Aw! For crying out loud.
NURSE. I’ll go and find him. I think I know where. He’ll be back in a jiffy, so never despair.
(NURSE exits. MONK LARRY returns.)
MONK LARRY. Well I couldn’t find Juliet anywhere. Hey! This girl looks good, how ’bout marry her.
ROMEO. This is Juliet you knucklehead monk!
MONK LARRY. Settle down then, let’s get this started. Okay, kneel down, now lets make this quick, I gotta floss my rat, so he won’t stick. Both of you, make sure your rings are switched. You may now kiss the bride, I pronounce, you hitched.
NARRATOR #2. Romy and J were now happily married, They both yelled "hurray", and then off they scurried. But not all was happy in this neighborhood, Mercutio and Tybalt were up to no good. It happened that both came to a place, Where they stopped and they stood, nose to nose, face to face.
TYBALT. I am an East going Tybalt, I say, You’re blocking my path, you’re right in my way.
MERCUTIO. I am Mercutio, I always go west, So you’d better step aside if you know best.
TYBALT. Didn’t you hear the words from my mouth? I won’t budge and inch to the North or the South!
MERCUTIO. I challenge you then, to a bumballoon battle.
TYBALT. You think you can beat me? Ha! fiddle-faddle.
MERCUTIO. You want to bumballoon poor Romeo. Now, I won’t let you.
TYBALT. Yeah? So big deal, what’s it to yo?
(They fight with balloons roughly tied into the shapes of swords. ROMEO enters.)
ROMEO. Hold on there fellas! This isn’t the way. Tybalt, we’re practically kin, to you I’ll explain.
TYBALT. (Aside:) When I finish here, one more victim to go.
(Points at ROMEO:) His name starts with "R" and rhymes with Omeo.
ROMEO. Hey guys! Quit fighting, ’coz that’s just as bad,
(TYBALT deals the fatal blow to MERCUTIO, leaving his bumballoon weapon stuck in MERCUTIO’s chest—or under his arm.)
MERCUTIO. Ouch! Ay-Carumba! I’ve been bumballooned!
TYBALT. I am the victor of this lame buffoon.
ROMEO. Mercutio!
MERCUTIO. Romeo!
ROMEO. Friend, are you dying?
MERCUTIO. No, I’m feeling fine…and…I am lying.
(MERCUTIO lets out a blood-curdling scream.)
ROMEO. Let me pull this bumballoon from your breast.
MERCUTIO. Please, I’d prefer that you call it my chest.
ROMEO. (Trying to pull out the balloon:) Chest, breast, whatever, Yoiks! This thing won’t budge.
TYBALT. Prepare to die Romeo! I hold a grudge!
ROMEO. Sheesh! This fixed bumballoon’s really a pain.
(ROMEO finally pulls TYBALT’s balloon free. He stumbles backwards from the pull, and kills TYBALT with his own balloon weapon.)
TYBALT. With my own bumballoon, now I am slain!
(ROMEO is stunned that he just killed TYBALT.)
ROMEO. What in the world? Crap! How did this happen?
(TYBALT quickly wakes up from death to answer ROMEO.)
TYBALT. You caught me off guard. I was too busy yappin’/barking.
(TYBALT drops dead again.)
(BENVOLIA enters)
BENVOLIA. Romeo run! Or you’re a sitting duck!
ROMEO. Oh I’m fortune’s fool and the play thing of luck!
(ROMEO exits. The PRINCESS, the CAPITULATES and the MONOTONES enter.)
THE PRINCESS. What happened here? I’d like to explore. The reason there’s two dead guys here on the floor.
BENVOLIO. Tybalt here bumballooned good friend Mercutio. And then got his bell rung by poor, sweet, young Romeo.
(LADY CAPITULATE sees TYBALT’s dead body and rushes to him trying to administer CPR, while delivering her line.)
LADY CAPITULATE. Oh, Tybalt, my nephew.
(To the PRINCE:) My kinsman Tybalt lies dead on the floor. Romeo must die to even the score.
LADY MONOTONE. And look what you’ve done to our dear Mercutio? It’s sure good that Tybalt died too.
And no, I won’t let you ban our dear Romeo for he sure is not the nasty culprit!
THE PRINCESS. Easy there girly-girl! I call the shots. I am the princess here believe it or not. I’ll banish young Romeo from fair Verona, As soon as I finish this slice of bologna.
LADY MONOTONE. NO!
(Everyone exits. NARRATOR #1 enters. JULIET enters from the other side. She sits on a bed that is rolled into the playing area. This represents her bedroom.)
NARRATOR #1. Romeo has to go skip town or else, The prince might find out and put him on the shelf.
(She does the slit/cut throat gesture.)
We see here young Julie as she thinks and sits,
JULIET. I’m wife to a banished guy. Man! That’s the pits.
NARRATOR #1. Yeah, that’s not all, ’coz there’s more pits in store. Here come her parents, through her bedroom door.
(Enter LADY CAPITULATE and LORD CAPITULATE.)
LADY CAPITULATE. Since poor Tybalt’s death fills all our hearts with sorrow…
CAPITULATE. We’re bumping your wedding day up tomorrow.
(LADY CAPITULATE and LORD CAPITULATE exit. NARRATOR#1 exits.)
JULIET. This is the double most "pits" situation. I’m victim of my father’s capitulation. I can’t marry Paris, ’cuz I’ve got a husband. I’m sure that’s illegal except on Fuzz Island. I need to get help. If I don’t, then I’m sunk. This is a job for old Larry the Monk.
(MONK LARRY enters.)
JULIET. Monk Larry! You’ve entered my bedroom, but how?
(MONK LARRY pulls a script out of his habit and shows it to JULIET.)
MONK LARRY. Check the script Julie, it’s my bedroom now.
JULIET. Ooooh! Is that because this is the magic of theatre?
MONK LARRY. (Smiling tersely/abruptly :) Yes my child. (To audience:) She’s got less brains than a sea otter.
JULIET. Gentle Monk Larry, I need some assistance. My wedding’s tomorrow despite my resistance. To Romeo, you’ll recall, I am now wed. But, they’d have me wed Paris…
MONK LARRY. Not if you’re dead. Listen, I’ve got a plan, but it takes guts, And you must eat two of these death faking nuts.
(He holds up a jar labeled—"Death Faking Nuts.") These death faking nuts, they make you look dead. Paris can’t wed, if the bride’s dead in bed. That you are still living won’t be understood, You see this will only make a beauty sleep in bed They’ll all think you’re dead, ’coz these nuts work good. Then after the funeral, in a few days, You’ll wake up with Romeo, far, far, away.
JULIET. How’ll Romeo know that I’m not really croaked?
MONK LARRY. I’ll send him an email, I’ll tell him our joke. In your tomb, when the last walk’s been trod, Romeo will sneak in and collect your bode.
JULIET. I’ll take the nuts when evening has come.
MONK LARRY. And I’ll send an email to Romeo dot com.
(MONK LARRY and JULIET exit. We see ROMEO off to the one side fixing his computer. Enter NARRATORS.)
NARRATOR #2. The monk sent him email with details attached But Romeo missed it, ’coz his P.C. crashed. He’ll never know Juliet faking disaster.
ROMEO. Shucks! Now I can’t play "Double Snitch Blaster.
(ROMEO Exits.)
NARRATOR #1. Later that night Juliet eats the nuts.
(JULIET eats the nuts looking around and chewing obnoxiously/disagreeable. Then, very suddenly, she falls down as if dead in her bed.)
NARRATOR #2. Then in the morning, she wouldn’t wake up.
(The NURSE enters and screams. JULIET’S parents rush in to see what the matter is.)
CAPITULATE. What! What’s the matter! Is Juliet dead?
LADY CAPITULATE. Is her body cold, is there blood on her head?
CAPITULATE. Did you check her pulse? Did you give CPR?
(NURSE shakes her head.)
CAPITULATE. Then why did you scream? Tell me, what’s this about?
NURSE. My leg cramped up, I just got done working out.
(NURSE exits.)
LADY CAPITULATE. I’m so glad to hear Juliet isn’t dead. Juliet wake up it’s your lucky day.
(She nudges JULIET.)
CAPITULATE. Today is the day that we give you away.
(Nudges JULIET harder.)
LADY CAPITULATE. We give you to Paris today, your fiancé’.
(Nudges really hard.)
CAPITULATE. (Lifting her out of bed:) Up! Out of bed! Say, she’s stiff as a board.
LADY CAPITULATE. She’s awfully cold, maybe she froze in her dream.
CAPITULATE. Or, maybe she’s dead.
LADY CAPITULATE. It’s our turn to scream!
(CAPITULATE nods. They scream and exit carrying JULIET’S seemingly dead body. The bed rolls out of sight.)
NARRATOR #1. Meanwhile . . . back with Romeo’s hiding place,
NARRATOR #2. Benvolia found him there.
BENVOLIA. Romeo wake up, and hear what I say, Juliet’s dead and her funeral’s today.
(ROMEO, waking up; having a hard time remembering who Juliet is.)
ROMEO. (Scratching his head:) Juliet, Juliet that name draws a blank, Help me out here; does she work at the bank?
BENVOLIA. Juliet! She’s your own heart’s delight, You married her yesterday, she is your wife!
ROMEO. Oooooh! That Juliet. Yeah, that name rings a bell, Now what’s the message you wanted to tell?
BENVOLIA. Juliet’s dead!
ROMEO. Are you kidding me?
BENVOLIA. No!
ROMEO. How did she die?
BENVOLIA. Nobody knows.
ROMEO. It must have been her broken heart that went "Crack!" I’ll kiss her one last time. I must now go back! Then I’ll consume this authentic death poison.
(ROMEO holds up a potion.)
It’ll take me, quickly, out of the picture. Don’t try and stop me, it must be this way,
(BENVOLIA is obviously not trying to stop him.)
Without Juliet, I shan't see one more day. My ears are deaf to your protestations,
(BENVOLIA is not protesting.)
My mind is made up, to have life deprivation.
(BENVOLIA, annoyed at ROMEO’S overblown dramatics, exits. ROMEO continues.)
There’s nothing Benvolia that you can do, to keep me from dying, I will follow through.
(Realizing he’s alone, he coyly glances at the audience and blushes.)
Off to Verona I go with my life, to lay it before the corpse of my wife.
(ROMEO exits. JULIET’S body is rolled to center stage. Her parents and a host of mourners are around her.)
NARRATOR #1. The mourners took one last look at Julie’s body, and then somebody yelled…
VOICE FROM THE LOBBY. Hey! There’s snacks in the lobby.
(All of the mourners rush off stage. Leaving JULIET alone. ROMEO enters.)
ROMEO. Juliet, honey, to get here I ran. I tripped on a gravestone and fell on your tomb. I came here to give your lips just one more kiss, And then we’ll be together again.
(He holds up the sword and positioned it to his belly. But leans to Juliet to give her the kiss)
It isn’t fair that I live while you’re dead, So I’m going to trade my life for death instead. Here comes my kiss, my one-sweetest goodbye kiss.
(They kiss.)
(ROMEO holds the death poison and makes a big production out of it. Suspenseful music comes on and gets louder as he brings the potion to his mouth.. ROMEO notices this and plays with the music. He moves the poison away from his mouth and the music gets softer, closer—louder, etc. Finally, he puts the poison to his mouth. He lays dead.)
(The NARRATORS enter.)
NARRATOR #2. So Romeo die with a kiss not knowing Juliet was just asleep.
NARRATOR #1. Juliet woke up from her long long sleep and sees her beau cold and stiff.
(JULIET releases a big scream. She screams up to the top of her lungs. Tears burst out to her eyes. She wraps her arms around ROMEO’S dead body.)
JULIET. Oh, Romeo, my Romeo. What happened to you? I thought we’d vow to end this feud? Oh, here lay your sword so sharp and dangerous Then I’ll be quick my body will be your cover.
(She holds the dagger and positioned it to her body)
Rust inside my body and let me die.
(She stabs herself and dies)
NARRATOR #2. Long years of bitterness ended this way.
NARRATOR #1. Now we had nothing but tears to wipe away.
BOTH. We know you thought it, as a comedy, but no. . . . It is a gross tragedy.
THE END
(NARRATORS WILL BOW AND WILL INTRODUCE THE CAST OF CHARACTERS FROM BEHIND THE CURTAIN AND CURTAIN WILL FALL BEHIND.)
Acknowledgments
The Seussification of Romeo and Juliet was first produced on September 21, 2001 in Mankato, Minnesota at Bethany Lutheran College. P.B. and J. J. directed it. And as a to convey our utmost appreciation, we give acknowledgment to Peter Bloedel, for his witty reinvention of Shakespeare’s great classic. And to our own very members for doing their part very well.
CLARIFICATIONS
The play you have just witnessed is another remake of Romeo and Juliet. It comes first as a witty performance but ended in a tragic moment still. SKLZ edited the original play and add and left out some parts. The ending is her idea with contrast to the whimsical ending of the original play by P. B.
Cast of Characters
NARRATOR #1…….PAULINE MUJAR
NARRATOR #2 ….....ANAROSE ESMILLA
PROLOGUE.……..MARTHA DOROTHY PANELO
SAMPSON ………..CHELO PAVERICIO
GREGORIA ………MARY GRACE DE VELA
ABRAM ……….EDWIN DELA CRUZ
BALTHASAR …......MARTIN BALLON
CAPITULATE (LORD) ……..JEMUEL RAMIREZ
LADY CAPITULATE ………STACY KATE ZABALLA
MONOTONE (LORD) ……….IAN PEREA
LADY MONOTONE ………CYRENE SALE
THE PRINCESS ……….MA. ISABEL LANUZO
ROMEO ………JESSE RAYMOND AYCARDO
BENVOLIA …….. MA. KATRINA MAYOR
MERCUTIO ………KEVIN MANALO
PARIS ……….MARTIN BALLON
SERVANT OF CAPITULATE ……….MA. CHRISTINA LUCES
NURSE ………. MARY JOY RESARI
JULIET ………MA. LORIANNE DOMOPOY
TYBALT ……...CHRISTIAN KAY MAGDAONG
MONK LARRY ……..SCHMITT YANZON
Setting- An empty stage.
The Reinvention of Romeo and Juliet
Remake by: Stacy Zaballa
(The two NARRATORS enter the playing area. They dress and behave similarly.)
NARRATOR #1. Dear Ladies and Men folk!
NARRATOR #2. Women and Gents!
NARRATOR #1. You’re people of culture and true common sense.
NARRATOR #2. You know what you know, and you like what you like.
NARRATOR #1. Like singing a song, or riding a bike.
NARRATOR #2. A long masterpiece!
NARRATOR #1. It’s the greatest!
NARRATOR #2. You bet!
NARRATOR #1. And topping the list…
BOTH. Romeo and Juliet!
NARRATOR #2. It’s Shakespeare’s great classic.
BOTH. And writing that stuff is tough.
NARRATOR #2. Sublime in its span, no thing is more artful.
NARRATOR #1. It deserves honors and applauds by the audience.
NARRATOR #2. The play is just perfect for you and us
NARRATOR #1. Naught is wrong unless you understand
BOTH. (Glancing at each other and then to the audience) Understand?
NARRATOR #2. The play’s still great, so we need not repeat it.
NARRATOR #1. But, you need to be Albert Einstein just to read it.
NARRATOR #2. Now, don’t be mistaken, we love William Shakespeare.
NARRATOR #1. But, in this new century he’s not very clear.
NARRATOR #2. Yet, only in admiration, to him our great hero, Do we pull "The Bards" back to our level, zero.
NARRATOR #1. We’ve shortened the play and changed some names but made it rhyme still. And shaky will like it still.
NARRATOR #2. A rhyming tetrameter is brought quite useful,
NARRATOR #1. But, could it make the play sound a bit Dr. Seussful?
NARRATOR #2. …And what’s wrong with that? Why, as sure as we’re standin’- Seuss is good too, and most folks understand him.
NARRATOR #2. A prologue is given to the top of the play.
NARRATOR #1. A paragraph giving the whole plot away.
NARRATOR #2. It must be important; there must be a reason- for Shaky to put it there.
NARRATOR #1. Our Prologue’s addressed…
(From offstage, suspended by a long stick, a dress on a hanger appears. Being misunderstood, and annoyed, NARRATOR #2 reiterates/calls again.)
-Addressed!
(The dress is pulled out of sight and the character of the PROLOGUE makes a leaping entrance.)
-Our Prologue’s addressed, so let’s watch and see…
NARRATOR #1. This lamentable,
NARRATOR #2. Horrible!
NARRATOR #1. Gross, comedy.
(NARRATOR #2 nudges NARRATOR #1, who then realizes her mistake.)
-(Oh!) Tragedy.
(The PROLOGUE crosses the playing area and continues her speech to one side, because there will be action taking place behind her.)
PROLOGUE. Verona’s the place from where our play is picked. Two families lived there, and man, they were ticked/instant.
(Two distinct/seperate groups of players materialize behind the PROLOGUE, representing the two feuding houses of CAPITULATE and MONOTONE. Both groups stand there, perhaps in fighting stance/posture, looking "ticked.")
PROLOGUE. Their ancient grudge match happened before our story, so long long ago I cannot recall. And rekindle/revived hatred made their feud more gory.
(The two families growl at one another, or generally show their hatred, still in the frozen fighting stance.)
Straight from the mouths of my ancestors too, I do get their story.
(LADY CAPITULATE and LADY MONOTONE, both visibly pregnant, walk into their respective family huddles, which conceal /hide them. However, Lord Monotone throws a rock into Lord Capitulate’s direction that angered his wife, Lady Capitulate. Lady Capitulate begins to attack the Monotones but Lady Monotone came rushing to her too. They fight until their big tummies went OUCH. They were hurried to the nearest Hospital. )
(A curtain separated both of them as they give birth. Their respective husbands accompanied them- looking worried. Then kid one and two popped out.)
(Lady Capitulate’s baby was a baby girl and she named her Juliet. Juliet is sucking on a bottle. While Lady Monotone’s baby was, a baby boy and she named him Romeo. Romeo sucks on a pacifier.)
(Then Lady C. and Lady M. will leave both Romeo and Juliet alone. The two babies will see each other, will blush, and will exchange their bottle and pacifier. One or two persons will hold their thoughts in a piece of paper saying:
(-ROMEO; "I like you. You’re cute." JULIET; "I know. You’re cute too.")
(Then the two mothers will enter again without their hubbies and will grab her respective child. They sneer to each other.)
PROLOGUE. (Goes to center stage)
As a result of their parental strife, their families to fighting and feuding were fettered/tied. But somehow, the two lovebirds met each other ever since.
(PROLOGUE exits. NARRATOR #1 enters carrying an odd musical instrument.)
(NARRATOR #1 enters as a boxing announcer. A microphone drops from the ceiling. She speaks into it.)
NARRATOR #1. In this corner, here are Sampson and Gregory, from the house of Capitulate; they were born ang-o-ry. And representing the house of Lord Monotone, Abram and Balthasar—a tenor…
ABRAM. (High voice :) Hi!
NARRATOR #1. (To Bathasar)…And baritone.
BALTHASAR. (Low voice :) Hi!
(A bell rings and the match starts. A seemingly boxing match)
ABRAM. I won’t let you win, you heck!
SAMPSON. And me too you buff!
BALTHASAR. I will rock your world!
GREGORIA. Then what are you waitin’ for? Fight in!
(They fight in slow motion as NARRATOR #2 enters and speaks.)
NARRATOR #2. A giant brawl started, you wouldn’t believe it,
(CAPITULATE and MONOTONE came to see it.)
CAPITULATE (LORD). I have with me my long sword, the one that cuts deep. While I’m preparing, I’ll yell—"Monotone, you’re a creep!"
MONOTONE (LORD). (In a monotone voice :) You villain Capitulate! I’m more than the man and you’re the creepiest, creep in the land!
CAPITULATE (LORD). (To Lady Capitulate:) Hmmm. The creepiest
creep. Does he have a point there?
LADY CAPITULATE. He’s lying my love you must never surrender.
(Enter NARRATOR #1.)
NARRATOR #1. Enter the princess, royal and wise,
(The PRINCESS enters. All fighting stops and all eyes are on His Majesty.)
She’s had about all she can take from these guys. A crusader for peace, she stops the fight, And everyone listens, ’coz they know she’s right. She pauses and makes the most eloquent speech.
THE PRINCESS. Will you jerks knock it off? I’ve been trying to sleep.
NARRATOR #1. Upon hearing the princess’ great message of virtue, the crowd all dispersed, it was almost past curfew. Only Lord and Mrs. Monotone stayed.
MONOTONE. Where’s our Romeo? I’ve not seen him all day. Why won’t he fight in the brawlslike the others?
LADY MONOTONE. He spends his time day dreaming, why should we bother?
(ROMEO enters. He’s pathetic. His parents watch him speak.)
ROMEO. Show me a mistress that is passing fair, Where I may read who passed that passing fair. She is too fair, too wisely too fair. It must be unfair to be passed at the fair. ’Coz fairs, they don’t care whose passing them rarely. Even the fair will pass rarely but barely. My love is fair, stripped bare, and cooked rare, But, fair cupid steals my bliss, so I despair.
(Romeo’s parents exit shaking their heads as if to say, "Where did we go wrong?" ROMEO exits in the other direction.)
NARRATOR #1. That was young Romeo, kid number one but as we can see, he’s not having much fun.
(She holds up a bottle labeled "Sneezle Fruit Juice.")
Perhaps he could use some red Sneezle Fruit Juice.That’s the best juice when your mind’s on the loose.It’s guaranteed for ten thousand—six uses.
(NARRATOR #1 exits. NARRATOR #2 enters.)
NARRATOR #2. Meanwhile at the Capitulate place, There’s a suitor for Julie and he’s with her dad.
(Enter CAPITULATE, PARIS, and SERVANT OF CAPITULATE. NARRATOR #1 exits.)
PARIS. Capitulate! I am the man for your daughter.
CAPITULATE. I don’t think you’ll do.
PARIS. But who could be hotter? Besides me who’s like prince charming?
CAPITULATE. (To the SERVANT:) Does he have a point there?
(The SERVANT nods Lord Capitulate will look unbelievable..)
(To the SERVANT:)
Young man go and get All of these people whose names I have writ.
(CAPITULATE hands an invitation list to the servant and then exits with his arm around PARIS.)
SERVANT OF CAPITULATE. Before I can find all the people and greet ’em, I need to find help from someone who can read ’em.
(Enter ROMEO and BENVOLIA. ROMEO is chanting his same pathetic litany. BENVOLIA is annoyed by it.)
ROMEO. …’coz fairs, they don’t care whose passing them rarely. Even the fair will pass rarely but barely. My love is fair, stripped bare, and cooked rare, BOTH. But, fair cupid steals my bliss, so I despair.
BENVOLIA. Romeo, I know your heart has been broken, Because on this matter you’ve endlessly spoken. And I’ve tried my best to be philanthropic, But, cousin, I think you’ve exhausted the topic. This tether to sadness I think you must cut, Or, if you don’t will you please just shut up?
ROMEO. Benvolia, it is so rare to forbear…
BENVOLIA. (Interrupting him:/to servant) Hey buddy! What’s up? Can we help you there?
SERVANT OF CAPITULATE. Sure enough, if there is help then I need it, ’coz I‘ve got this list here, and I just can’t read it. To find a strong reader is what I’ve been hoping…
ROMEO. (Taking the list:) I’ll read it to you, it will keep me from moping.
(He reads:) These folks can come to Capitulate’s party:
Smarty Martino and his boy named Arty,Bronco Buck Billy, and Buck Billy Buff,And Lady McDinky, McDucky, McDuff,John Jimmy Jack Jamerson, from Katmandu,Mercutio and Winnifred Winnie Waters,Old Uncle Perk and his ninety-six daughters, Dave from Topeka, and Lady Von Rybald,Rosaline, Valentine, Livia, Tybalt,Anyone named Gordie or Tim or Melissa,Can come to this bash, if you can’t then we’ll miss yah.
(Finished reading, he says to SERVANT:) This party sounds great.
BENVOLIA. Like the best of the best.
SERVANT OF CAPITULATE. If you’re not a Monotone, come be our guest.
(The SERVANT exits.)
BENVOLIA. Romeo, we’ve got to go crash this wingding/party. There’s sure to be beauties to make you even sing.
ROMEO. This party will never cure my broken heart but, I’ll go along with you to take your part.
(ROMEO and BENVOLIA exit. Enter NARRATOR #1.)
NARRATOR #1. Meanwhile, back at the Capitulate place- We shall meet Juliet full of splendorand grace.
(Enter JULIET. She’s asleep. LADY CAPITULATE and NURSE enter from other side of playing area. NARRATOR #1 exits.)
LADY CAPITULATE. Nurse where is Juliet? Now where could she be? I want my daughter, so lead her to me.
NURSE. Oh, little plum dumplin’, oh, sweet puddin’ pie. Where’s my fragrant blossom—come out don’t be shy. Oh little love kitten, thou sweet kitty kitty Answer my call and quit hiding, you emokitten!
JULIET. (From the floor:) How now? Who calls?
NURSE. (Helping her up:)Get up off the floor! It’s your Mother, she’s waiting just outside your door.
JULIET. (A bit bewildered from the fall:) Mom?
LADY CAPITULATE. Yes! It’s I. I’m your own dearest Mother. I’ve been called the same by your sisters and brother. I meant to say that when I said, That I am your Mother, One-hundred percent.
JULIET. I suppose this is a moment I’ll cherish.
LADY CAPITULATE. Juliet, you are to marry young Paris.
JULIET. I’m not yet 18. Is there some space for doubt?
LADY CAPITULATE. I married young, and look how I turned out.
(LADY CAPITULATE strikes some sort of cheerleader or beauty pageant pose. JULIET is disgusted.)
NURSE. He is so handsome. He’s a man of wax.
LADY CAPITULATE. Here is his picture. He sent us a FAX.
(Hands JULIET the fax picture. It isn’t flattering.)
We’re having a party, and there you can meet him.
NURSE. He’s so delicious, you’ll just want to eat him.
(They exit. NARRATOR #1 and NARRATOR #2 enter.)
NARRATOR #2. On their way to the party Benvolia and Romeo, Meet up with their friend & Zip Zip Shabang, also known as Mercutio.
(Enter ROMEO, BENVOLIA, MERCUTIO. They are dressed for a costume party. ROMEO is wearing a visor.)
BENVOLIA. (To ROMEO:) Forget this girl who won’t return your affection. Dance with some others make a new selection.
MERCUTIO. Yes, gentle Romeo, we must see you dance.
ROMEO. My heart is too heavy. There isn’t a chance.
MERCUTIO. You love sick dreamer, your dreams aren’t all dreamt. Each man sees a new day and you’re not exempt.
(MERCUTIO pulls a flat cd from his pants)
It’s time to par-tay!
(He handed the cd to one of the servants. Punk music began to play. CAPITULATE (LORD) enters)
CAPITULATE. Good evening Gents—there’s plenty to eat, (Capitulate’s party members enter the playing area dancing to mellow party music playing softly. The ladies wearing high heels sandals. JULIET is in the party group.) And ladies who’ll dance despite their heels,All through the night to dance their feet.If I were a youngster you bet I’d be swaying Hey, wait! Could that be true?Do I have a point there? I certainly do.
(CAPITULATE continues—capitulating:)
Good evening Gents—there’s plenty to eat, And ladies who’ll dance despite the heels on their feet.
(JULIET and ROMEO are both downstage but on opposite sides of the stage. ROMEO notices JULIET.)
ROMEO. Ei-hotchee-mama, Growl, Whoo! Hubba-hubba! That girl is a babe or my name is dumb bubba.
(ROMEO pulls his visor down over his eyes to conceal his identity; he goes to JULIET and commences flirting. An alarm goes off. TYBALT rushes down stage from the party group.)
TYBALT. My Monotone alarm just gave the alert! I keep it hidden right under in my shirt. It detects Monotones. It’s never been wrong. And this one is foolin’ where he don’t belong. This brazen young trespasser needs to be beaten.
CAPITULATE. Dear nephew Tybalt what’s wrong with you?
TYBALT. (Points:) Uncle your house has a monotone there.
CAPITULATE. Leave him alone.
(ROMEO takes his visor off for a second and runs his fingers through his hair.)
Wow! Does he have nice hair!
TYBALT. But uncle, that’s Romeo, Monotone’s son!
CAPITULATE. Lighten up boy I’m not done having fun. I know not to kill him, I know when to Besides let’s look on the bright side, there’s always the morrow.
(CAPITULATE goes back and dances again. TYBALT falls back and watches ROMEO like a hawk. ROMEO grabs JULIET’s hand and brings her to the center of the playing area.)
ROMEO. Please, don’t think I’m advance, but I think you’re hot!
JULIET. (Aside:) I can’t see his face is it worth it or not?
(ROMEO lifts his visor.)
ROMEO. I have twelve billion, sixty-two million and sixty, Hormones and all of them want you to kiss me.
JULIET. Hey, you’re kind of cute, okay, here, hold my gum first. It’s raspberry, lima bean, sneezle fruit, bratwurst.
(They kiss.)
ROMEO. Wow! Hey, you’re right, that is good tasting gum.
NURSE. Your mother would like a few words with you, hon.
(NURSE grabs JULIET by the arm and sends her back to LADY CAPITULATE who is standing with PARIS. ROMEO pops Juliet’s gum in his mouth.)
ROMEO. Who is her Mom, if I may be so bold? Quickly, please tell me before I get old.
NURSE. Her Dad is the host, who bought the main course dish you ate. Her Mother’s no other than Lady Capitulate. Juliet is her name and she is the fairest. But don’t get ideas. She’s marrying Paris.
ROMEO. She’s a Capitulate what rotten luck!
BENVOLIA. (Emerging from the party:) Romy, we’re outta here, this gig is up! We mustn’t stay here, we have to go home-e-o.
JULIET. (To the NURSE:) What is his name?
ROMEO. (With a dashing pose:) There are those who call me Romeo!
(Everybody exits. NARRATOR #1 enters.)
NARRATOR #1. Needless to say Romy’s heart-ache was done. He met a new girl and she had good gum. All of the guests from the banquet had parted, But not Romeo, he was just getting started.
(ROMEO runs on.)
ROMEO. How can I leave here when she holds my heart? My importance’s, blood-pumping, chest body part.
(ROMEO dashes to the back of the curtain and stands as if to hide. Enter BENVOLIA and MERCUTIO.)
BENVOLIA. Yo, Romeo yo! Where did you go?
MERCUTIO. He went home to bed, that’s where I’m gonna go.
BENVOLIA. But, I saw him running back toward the feast.
MERCUTIO. Well that can’t be right, ’coz his bed is due East.
BENVOLIO. I’m telling you he didn’t go home to bed.
MERCUTIO. My friend, no offense, but you need a new head.
(They exit. JULIET enters close to her window and underside it, a ladder. She is contemplating.)
ROMEO. Coming back to this place may seem capricious, But, I just can’t help myself, she’s gorge-o-licious.
JULIET. (whispering gracefully into the night.) Oh, Romeo mah baby-o Wherefore art thou, Oh Romeo? I just can’t get enough. Forsake your name, or else I’ll forsake mine, But, if I forsake mine there’s a ten-dollar fine. My tap dancing lessons will prob-ly get cancelled, No more T.V., root beer floats, no more Seinfeld. I might get grounded for three or more hours, So, if there’s a heart to love let’s make it yours.
ROMEO. (On one knee below the ladder:)
She speaks to herself through her self-speaking self. No thing is more useful to speak secret stuff. It makes it all louder so others can know too. Oh, Juliet, my Juliet, you’re a pearl of great price. You’re like two pearls only much, much, more nice.
JULIET. (looking down to her window) Who is that? Yo! Romeo, Is that you?
ROMEO. Yes, it is I-your Romeo, that is true. I heard your completely self-speaking speech, and though it’s silly I don’t ever care. And I love you, my love, just as sure as you’re born.
JULIET. Let’s find the preacher!
ROMEO. Let’s get attach tomorrow. Enough of this fighting…
JULIET. …This feuding…
BOTH. This Sorrow.
ROMEO. Kiss me once more and send my lips to heaven!
JULIET. I can’t anymore tonight, It’s past eleven.
ROMEO. (Scratching his head:) Well it couldn’t hurt more if we kissed tonight. Just as the moon shines up above and when the sun lights the morn, we shall elope.
(They kiss .Romeo run away blowing kisses to his Juliet. Enter NARRATOR #2. Enter MONK LARRY on the opposite side of the playing area.)
NARRATOR #2. So Romeo ran to the home of Monk Larry, Not monkey Larry…he’s not quite that hairy, He’s just a monk, he’s the monkiest one That Romeo knew and could get the job done.
(Enter ROMEO.)
ROMEO. Oh good! Monk Larry! I’m glad that you’re here.
MONK LARRY. (In a Bronx accent:) Where else would I be? I’ve not left here in years. You sure are chipper. Last time I saw you, You were blubbering, moping, and singing the blues.
ROMEO. That was the old me. I’m new and improved. I’m a hip-hoppin’, happenin’, cool, righteous dude!
MONK LARRY. How can I help you, my dude filled with glee?
(ROMEO grabs MONK LARRY’s hand and gets down on one knee.)
ROMEO. I need your consent, Monk. Will you marry me?
MONK LARRY. (Grabbing him by the throat :) Listen punk! I am a monk, don’t you get it? I live all alone and I’m doing a custom.
ROMEO. (Choking:) No, No! I meant to say, there’s a girl that I’ve met as of late, Though she ‘s the daughter of Capitulate but our love is true.
MONK LARRY. Are you sure?
ROMEO. Yes indeed. One-Hundred and Ninety percent guaranteed.
MONK LARRY. (Aside to the audience:) If I marry the girl to this Monotone dude-ling, It may end the war, all this troublesome feud-ling.
(To ROMEO:) Okay, my young pup; I’ll tie your knot, But, if you’re eloping, then you’ll need a plot.
(MONK LARRY puts his arm around ROMEO and they exit. Enter MERCUTIO and BENVOLIA.)
MERCUTIO. So, Romeo never came home late last night?
BENVOLIA. He never came home and he’s still out of sight. Now, Tybalt the nephew of Capitulate, challenges him to a bumballoon fight.
MERCUTIO. A bumballoon fight? That’s the worst! That would mean curtains for poor Romeo. Tybalt’s the best bumballoonist around, I’ve seen him bumballoon twenty men down. I can hold my own at true bumballooning, But, lovesick young Romy’s been too busy crooning.
BENVOLIA. Here he comes now! Hey Romy, what’s up? You didn’t go back to the place where you live.
(ROMEO enters.)
ROMEO. There’s an optometrist whose name is Cupid, He’s opened my eyes, and made me less stupid. I met a new girl, she’s the best of the best. She passed that Romeo "hot mama" test.
(Romeo’s friends chime in with masculine banter.)
MERCUTIO. Heeeey, well okay, well okay hey, I say…
BENVOLIA. Heeeeeey!
ROMEO. Yippy-Yeeeea!
MERCUTIO. Yippy, okay ei-yeeea!
(Enter NURSE.)
NURSE. Has anyone seen Romeo Monotone? I need to see him before I go home.
(Romeo’s friends think that the Nurse is Romeo’s new girlfriend.)
MERCUTIO. (Winking and nudging ROMEO:) Hey there! Not bad, she’s a fine catch old son.
BENVOLIA. I guess I was picturing someone more young.
MERCUTIO. (Love-stricken by the nurse:) Wow! She’s a babe alright, look at those curls.
ROMEO. What! Are you mental? That’s not the new girl.
(MERCUTIO is dumbfounded.)
NURSE. (To ROMEO:) Juliet, my mistress inquires about you, But, I think she’s missing a half-dozen screws. As her nurse, I must ask, what makes you so great? Why do you deserve Miss Capitulate?
ROMEO. I make a great milkshake; all my friends say so,
NURSE. That’s good enough for me, so where could we meet you?
ROMEO. We’ll meet at Monk Larry’s place later today. He’ll marry us there, and then we’ll say "hurray!"
NURSE. I love small weddings. What could be humbler?
(The NURSE exits.)
MERCUTIO. (Following the nurse:) Excuse me there Miss, can I get your number please?
(BENVOLIA and ROMEO exit—looking puzzled by MERCUTIO. NARRATOR #1 enters. ROMEO reenters with MONK LARRY.)
NARRATOR #1. So Romeo went back to Monk Larry’s house. Not a creature was stirring, not even…
ROMEO. (Screaming in horror:) A Mouse!
(MONK LARRY is holding a stuffed pet rodent.)
MONK LARRY. It ain’t a mouse it’s my pet dodrent helper.
(MONK LARRY raises his arms and sniff.)
He always eat clean, my stinky, bad habit.
ROMEO. I’m just so nervous my stomach’s a wreck. Where could they be?
MONK LARRY. Just a sec. I’ll go check.
(MONK LARRY exits.)
ROMEO. I do not like his stinky clothes, I do not like his stinky place, I do not like them near or far, I do not like them in a car, I do not like them in a tunnel, I could not push them through a funnel, I only love the girl I met, Juliet.
(JULIET and NURSE enter.)
Here she comes. Hey Juliet!
JULIET. I’m sorry that we are late in getting here. I had to use eight cans of spray in my hair.
NURSE. So, don’t light a match!
ROMEO. No, I won’t. I vow.
JULIET. So, where is the monk?
ROMEO. Aw! For crying out loud.
NURSE. I’ll go and find him. I think I know where. He’ll be back in a jiffy, so never despair.
(NURSE exits. MONK LARRY returns.)
MONK LARRY. Well I couldn’t find Juliet anywhere. Hey! This girl looks good, how ’bout marry her.
ROMEO. This is Juliet you knucklehead monk!
MONK LARRY. Settle down then, let’s get this started. Okay, kneel down, now lets make this quick, I gotta floss my rat, so he won’t stick. Both of you, make sure your rings are switched. You may now kiss the bride, I pronounce, you hitched.
NARRATOR #2. Romy and J were now happily married, They both yelled "hurray", and then off they scurried. But not all was happy in this neighborhood, Mercutio and Tybalt were up to no good. It happened that both came to a place, Where they stopped and they stood, nose to nose, face to face.
TYBALT. I am an East going Tybalt, I say, You’re blocking my path, you’re right in my way.
MERCUTIO. I am Mercutio, I always go west, So you’d better step aside if you know best.
TYBALT. Didn’t you hear the words from my mouth? I won’t budge and inch to the North or the South!
MERCUTIO. I challenge you then, to a bumballoon battle.
TYBALT. You think you can beat me? Ha! fiddle-faddle.
MERCUTIO. You want to bumballoon poor Romeo. Now, I won’t let you.
TYBALT. Yeah? So big deal, what’s it to yo?
(They fight with balloons roughly tied into the shapes of swords. ROMEO enters.)
ROMEO. Hold on there fellas! This isn’t the way. Tybalt, we’re practically kin, to you I’ll explain.
TYBALT. (Aside:) When I finish here, one more victim to go.
(Points at ROMEO:) His name starts with "R" and rhymes with Omeo.
ROMEO. Hey guys! Quit fighting, ’coz that’s just as bad,
(TYBALT deals the fatal blow to MERCUTIO, leaving his bumballoon weapon stuck in MERCUTIO’s chest—or under his arm.)
MERCUTIO. Ouch! Ay-Carumba! I’ve been bumballooned!
TYBALT. I am the victor of this lame buffoon.
ROMEO. Mercutio!
MERCUTIO. Romeo!
ROMEO. Friend, are you dying?
MERCUTIO. No, I’m feeling fine…and…I am lying.
(MERCUTIO lets out a blood-curdling scream.)
ROMEO. Let me pull this bumballoon from your breast.
MERCUTIO. Please, I’d prefer that you call it my chest.
ROMEO. (Trying to pull out the balloon:) Chest, breast, whatever, Yoiks! This thing won’t budge.
TYBALT. Prepare to die Romeo! I hold a grudge!
ROMEO. Sheesh! This fixed bumballoon’s really a pain.
(ROMEO finally pulls TYBALT’s balloon free. He stumbles backwards from the pull, and kills TYBALT with his own balloon weapon.)
TYBALT. With my own bumballoon, now I am slain!
(ROMEO is stunned that he just killed TYBALT.)
ROMEO. What in the world? Crap! How did this happen?
(TYBALT quickly wakes up from death to answer ROMEO.)
TYBALT. You caught me off guard. I was too busy yappin’/barking.
(TYBALT drops dead again.)
(BENVOLIA enters)
BENVOLIA. Romeo run! Or you’re a sitting duck!
ROMEO. Oh I’m fortune’s fool and the play thing of luck!
(ROMEO exits. The PRINCESS, the CAPITULATES and the MONOTONES enter.)
THE PRINCESS. What happened here? I’d like to explore. The reason there’s two dead guys here on the floor.
BENVOLIO. Tybalt here bumballooned good friend Mercutio. And then got his bell rung by poor, sweet, young Romeo.
(LADY CAPITULATE sees TYBALT’s dead body and rushes to him trying to administer CPR, while delivering her line.)
LADY CAPITULATE. Oh, Tybalt, my nephew.
(To the PRINCE:) My kinsman Tybalt lies dead on the floor. Romeo must die to even the score.
LADY MONOTONE. And look what you’ve done to our dear Mercutio? It’s sure good that Tybalt died too.
And no, I won’t let you ban our dear Romeo for he sure is not the nasty culprit!
THE PRINCESS. Easy there girly-girl! I call the shots. I am the princess here believe it or not. I’ll banish young Romeo from fair Verona, As soon as I finish this slice of bologna.
LADY MONOTONE. NO!
(Everyone exits. NARRATOR #1 enters. JULIET enters from the other side. She sits on a bed that is rolled into the playing area. This represents her bedroom.)
NARRATOR #1. Romeo has to go skip town or else, The prince might find out and put him on the shelf.
(She does the slit/cut throat gesture.)
We see here young Julie as she thinks and sits,
JULIET. I’m wife to a banished guy. Man! That’s the pits.
NARRATOR #1. Yeah, that’s not all, ’coz there’s more pits in store. Here come her parents, through her bedroom door.
(Enter LADY CAPITULATE and LORD CAPITULATE.)
LADY CAPITULATE. Since poor Tybalt’s death fills all our hearts with sorrow…
CAPITULATE. We’re bumping your wedding day up tomorrow.
(LADY CAPITULATE and LORD CAPITULATE exit. NARRATOR#1 exits.)
JULIET. This is the double most "pits" situation. I’m victim of my father’s capitulation. I can’t marry Paris, ’cuz I’ve got a husband. I’m sure that’s illegal except on Fuzz Island. I need to get help. If I don’t, then I’m sunk. This is a job for old Larry the Monk.
(MONK LARRY enters.)
JULIET. Monk Larry! You’ve entered my bedroom, but how?
(MONK LARRY pulls a script out of his habit and shows it to JULIET.)
MONK LARRY. Check the script Julie, it’s my bedroom now.
JULIET. Ooooh! Is that because this is the magic of theatre?
MONK LARRY. (Smiling tersely/abruptly :) Yes my child. (To audience:) She’s got less brains than a sea otter.
JULIET. Gentle Monk Larry, I need some assistance. My wedding’s tomorrow despite my resistance. To Romeo, you’ll recall, I am now wed. But, they’d have me wed Paris…
MONK LARRY. Not if you’re dead. Listen, I’ve got a plan, but it takes guts, And you must eat two of these death faking nuts.
(He holds up a jar labeled—"Death Faking Nuts.") These death faking nuts, they make you look dead. Paris can’t wed, if the bride’s dead in bed. That you are still living won’t be understood, You see this will only make a beauty sleep in bed They’ll all think you’re dead, ’coz these nuts work good. Then after the funeral, in a few days, You’ll wake up with Romeo, far, far, away.
JULIET. How’ll Romeo know that I’m not really croaked?
MONK LARRY. I’ll send him an email, I’ll tell him our joke. In your tomb, when the last walk’s been trod, Romeo will sneak in and collect your bode.
JULIET. I’ll take the nuts when evening has come.
MONK LARRY. And I’ll send an email to Romeo dot com.
(MONK LARRY and JULIET exit. We see ROMEO off to the one side fixing his computer. Enter NARRATORS.)
NARRATOR #2. The monk sent him email with details attached But Romeo missed it, ’coz his P.C. crashed. He’ll never know Juliet faking disaster.
ROMEO. Shucks! Now I can’t play "Double Snitch Blaster.
(ROMEO Exits.)
NARRATOR #1. Later that night Juliet eats the nuts.
(JULIET eats the nuts looking around and chewing obnoxiously/disagreeable. Then, very suddenly, she falls down as if dead in her bed.)
NARRATOR #2. Then in the morning, she wouldn’t wake up.
(The NURSE enters and screams. JULIET’S parents rush in to see what the matter is.)
CAPITULATE. What! What’s the matter! Is Juliet dead?
LADY CAPITULATE. Is her body cold, is there blood on her head?
CAPITULATE. Did you check her pulse? Did you give CPR?
(NURSE shakes her head.)
CAPITULATE. Then why did you scream? Tell me, what’s this about?
NURSE. My leg cramped up, I just got done working out.
(NURSE exits.)
LADY CAPITULATE. I’m so glad to hear Juliet isn’t dead. Juliet wake up it’s your lucky day.
(She nudges JULIET.)
CAPITULATE. Today is the day that we give you away.
(Nudges JULIET harder.)
LADY CAPITULATE. We give you to Paris today, your fiancé’.
(Nudges really hard.)
CAPITULATE. (Lifting her out of bed:) Up! Out of bed! Say, she’s stiff as a board.
LADY CAPITULATE. She’s awfully cold, maybe she froze in her dream.
CAPITULATE. Or, maybe she’s dead.
LADY CAPITULATE. It’s our turn to scream!
(CAPITULATE nods. They scream and exit carrying JULIET’S seemingly dead body. The bed rolls out of sight.)
NARRATOR #1. Meanwhile . . . back with Romeo’s hiding place,
NARRATOR #2. Benvolia found him there.
BENVOLIA. Romeo wake up, and hear what I say, Juliet’s dead and her funeral’s today.
(ROMEO, waking up; having a hard time remembering who Juliet is.)
ROMEO. (Scratching his head:) Juliet, Juliet that name draws a blank, Help me out here; does she work at the bank?
BENVOLIA. Juliet! She’s your own heart’s delight, You married her yesterday, she is your wife!
ROMEO. Oooooh! That Juliet. Yeah, that name rings a bell, Now what’s the message you wanted to tell?
BENVOLIA. Juliet’s dead!
ROMEO. Are you kidding me?
BENVOLIA. No!
ROMEO. How did she die?
BENVOLIA. Nobody knows.
ROMEO. It must have been her broken heart that went "Crack!" I’ll kiss her one last time. I must now go back! Then I’ll consume this authentic death poison.
(ROMEO holds up a potion.)
It’ll take me, quickly, out of the picture. Don’t try and stop me, it must be this way,
(BENVOLIA is obviously not trying to stop him.)
Without Juliet, I shan't see one more day. My ears are deaf to your protestations,
(BENVOLIA is not protesting.)
My mind is made up, to have life deprivation.
(BENVOLIA, annoyed at ROMEO’S overblown dramatics, exits. ROMEO continues.)
There’s nothing Benvolia that you can do, to keep me from dying, I will follow through.
(Realizing he’s alone, he coyly glances at the audience and blushes.)
Off to Verona I go with my life, to lay it before the corpse of my wife.
(ROMEO exits. JULIET’S body is rolled to center stage. Her parents and a host of mourners are around her.)
NARRATOR #1. The mourners took one last look at Julie’s body, and then somebody yelled…
VOICE FROM THE LOBBY. Hey! There’s snacks in the lobby.
(All of the mourners rush off stage. Leaving JULIET alone. ROMEO enters.)
ROMEO. Juliet, honey, to get here I ran. I tripped on a gravestone and fell on your tomb. I came here to give your lips just one more kiss, And then we’ll be together again.
(He holds up the sword and positioned it to his belly. But leans to Juliet to give her the kiss)
It isn’t fair that I live while you’re dead, So I’m going to trade my life for death instead. Here comes my kiss, my one-sweetest goodbye kiss.
(They kiss.)
(ROMEO holds the death poison and makes a big production out of it. Suspenseful music comes on and gets louder as he brings the potion to his mouth.. ROMEO notices this and plays with the music. He moves the poison away from his mouth and the music gets softer, closer—louder, etc. Finally, he puts the poison to his mouth. He lays dead.)
(The NARRATORS enter.)
NARRATOR #2. So Romeo die with a kiss not knowing Juliet was just asleep.
NARRATOR #1. Juliet woke up from her long long sleep and sees her beau cold and stiff.
(JULIET releases a big scream. She screams up to the top of her lungs. Tears burst out to her eyes. She wraps her arms around ROMEO’S dead body.)
JULIET. Oh, Romeo, my Romeo. What happened to you? I thought we’d vow to end this feud? Oh, here lay your sword so sharp and dangerous Then I’ll be quick my body will be your cover.
(She holds the dagger and positioned it to her body)
Rust inside my body and let me die.
(She stabs herself and dies)
NARRATOR #2. Long years of bitterness ended this way.
NARRATOR #1. Now we had nothing but tears to wipe away.
BOTH. We know you thought it, as a comedy, but no. . . . It is a gross tragedy.
THE END
(NARRATORS WILL BOW AND WILL INTRODUCE THE CAST OF CHARACTERS FROM BEHIND THE CURTAIN AND CURTAIN WILL FALL BEHIND.)
Acknowledgments
The Seussification of Romeo and Juliet was first produced on September 21, 2001 in Mankato, Minnesota at Bethany Lutheran College. P.B. and J. J. directed it. And as a to convey our utmost appreciation, we give acknowledgment to Peter Bloedel, for his witty reinvention of Shakespeare’s great classic. And to our own very members for doing their part very well.
CLARIFICATIONS
The play you have just witnessed is another remake of Romeo and Juliet. It comes first as a witty performance but ended in a tragic moment still. SKLZ edited the original play and add and left out some parts. The ending is her idea with contrast to the whimsical ending of the original play by P. B.
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