Musical updating of romeo juliet

Mishi Schueller and Kimberly Willes are even better in these roles than you'd hope they'd be.

The duo is so touching, so emotionally expansive, that director/choreographer Ann Nieman's production is an absolute dream whenever they're on stage, so allow me to begin by discussing Schueller's and Willes' contributions, which should underscore how great this Ninja-style nuns, two sets of twins separated at birth, woeful lovers, men vaguely resembling Elvis, and a society divided by religious differences.

Though he would never cease striving in both directions, was to be the peak of his musico-theatrical accomplishments.

In 1958 he became the first American-born and trained conductor to be named music director of the New York Philharmonic, and conducting slowly began to take pride of place among the polymath Bernstein’s wide range of musical activities.

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Sir Philip Sidney states in his Apology for Poetry that poetry should both delight and teach, and both the text and the film serve this purpose well—each suited to the time in which they were presented. "Audiences In Love With the Doomed Lovers.” New York Times 5 Nov. As critic Sam Leith points out, many critics and scholars of Shakespeare have no problem, and really no choice, with using phrases such as, “’would have’, ‘could have’, ‘probably’, ‘possibly’, and ‘might’,”[1] when discussing the details of Shakespeare’s life.

The idea of updating as a musical set in the streets of New York City originated with choreographer Jerome Robbins.

(A recent Robbins biography, however, speculates that the idea may have germinated in a discussion Robbins had with actor Montgomery Clift, who was learning the role of Romeo in the late 1940s.) Bernstein first made note, in a diary entry from 1949, of Robbins’s idea for a -based musical to take place on New York’s Lower East Side, with tensions between Jews and Catholics at Passover/Easter substituting for the Capulets and Montagues.

The film's real selling points, however, are the highly charged and inventive song-and-dance numbers, the passionate ballads, the moody sets, colorful support from Rita Moreno, and the sheer accomplishment of Hollywood talent and technology producing a film so stirring.

Leonard Bernstein and Stephen Sondheim wrote the score.

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