But both performers are better at excavating the balder emotion of the songs than delivering the verse with the requisite intricacy.“The Last Goodbye” certainly doesn’t cheapen Shakespeare’s great play.Rumours state that it leads to a solitary beach paradise, a tropical bliss. The classic story of Romeo and Juliet, set in a modern-day city of Verona Beach.The Montagues and Capulets are two feuding families, whose children meet and fall in love.The show goes down slickly, quickly and smoothly, much like a good pop song, but like many of those, it doesn’t get much of a purchase on your heart. WITH: Hale Appleman (Mercutio), Jay Armstrong Johnson (Romeo), Stephen Bogardus (Friar Laurence), Nancy Snow Carr (Lady Montague), Shannon Cochran (Lady Capulet), Talisa Friedman (Juliet), Brandon Gill (Benvolio), Bryan Scott Johnson (Montague), Eric Morris (Paris), Daniel Oreskes (Capulet), Tonye Patano (Nurse), Wallace Smith (Prince) and Jeremy Woodard (Tybalt).
Buckley’s songs too often feel like earnest but glib place holders for the greater emotional range and expressiveness of the verse. They meet the challenge of speaking Shakespeare’s language with the casual intonations of contemporary speech (as I assume they were directed to do) as best they can, and occasionally the results are amusing.
Ahead of our performance of excerpts from Prokofiev’s musical version on Friday 15 April as part of our Shakespeare400 celebrations, we have had a look at some of the music in films and musicals that have been inspired by Shakespeare’s tragic romance, Love is a recurring theme in many of Shakespeare’s plays.
Powerful, personal and very often messy, Shakespeare’s treatment of love reminds his audience of the real, raw emotions around falling in love and being in love.
When Lady Capulet (Shannon Cochran) asks whether her daughter has marriage on her mind, Ms.
Friedman’s reply — “It is an honor that I dream not of” — is delivered with an upturned cadence on the last syllables that slaps a question mark on it, just as lots of young women end their sentences these days, bewildering their elders.(The chorus runs: “All flowers in time bend toward the sun/I know you say there’s no one for you/But here is one, here is one.”) Here and in other instances, Mr. Timbers have woven together Buckley’s lyrics and Shakespeare’s verse with ingenuity. The emotional resonance and depth of character established by Shakespeare’s verse must be supplied by Buckley’s music, and that’s a mighty heavy burden to put on any composer.