The Troubles of Romeo and Juliet Was Produced by Quinnipiac University and Staged at New Haven’S Long Wharf Theatre in April of 2004

Troubling Romeo and Juliet: Shakespeare's Tragedy of Religious iolence in Belfast and Beyond

Crystal Brian Quinnipiac University

The Troubles of Romeo and Juliet was produced by Quinnipiac University and staged at New Haven’s Long Wharf Theatre in April of 2004. In March of 2005 the student ensemble that created the script will travel to Northern Ireland to meet with former combatants and victims of the Troubles engaged in the difficult and vital work of bridging age-old divides of hatred and violence. These experiences in Northern Ireland will inform a final version of the script, to be produced at the Long Wharf Theatre in May, 2005, as the culminating experience in a two-and-a-half-year process of research and creation. In the fall of 2003 a group of Quinnipiac University students, struck by the ever-growing incidences of terrorism, violence, and religious-based conflict around the globe, felt compelled to articulate their concerns through a collaboratively-conceived piece of theatre. Students explored faith-driven conflicts—including the Pal- estinian-Israeli conflict in the Middle East—as potential settings for a devised theatre project. Simultaneously the ensemble read various theatrical texts, searching for a play that could be effectively adapted to portray the seemingly endless cycle of religious violence. Romeo and Juliet, written by Shakespeare in the sixteenth century during a period of intense religious strife and depicting an ancient feud which is born anew in each succeeding generation, offered potential parallels with many contemporary global conflicts. (Indeed, Shakespeare’s tragedy has often been used as a vehicle for exploring issues of political and cultural conflict.) Ultimately, however, students selected one particular cycle of religious violence to furnish an organically viable context for Shakespeare’s tragedy—that of the Troubles of Northern Ireland. As in Shakespeare’s time, a struggle complicated by economic and social factors locates its roots in a struggle between the Catholic and Protestant faiths. One may argue, however, that issues of religious identification are not the true source of the conflict, but rather furnish convenient labels masking a profound struggle for economic and political power in the northern counties of Ireland. “The Troubles,” the name the Northern Irish have given to the political conflict between Republicans (predominantly Catholics) and Unionists (predominantly Protestants), has resulted in more than thirty years of unceasing violence and 53 54 Crystal Brian the deaths of almost 4000 Irish citizens—combatants, victims, Protestants, Catholics, adults, children—all trapped in the culmination of a struggle which has stained the country’s history for hundreds of years. Although Ireland has struggled for centuries against domination by Great Britain, historians generally cite January 30, 1972, “Bloody Sunday”—the day British soldiers fired upon unarmed protestors in Derry, Northern Ireland—as the beginning of the modern “Troubles.” That infamous day became a symbol for Northern Irishmen—Catholics and Protestants alike—of the senseless loss and horror perpetrated in the name of religious, economic and political freedom. The era of “Bloody Sunday” seemed an appropriate setting for our adaptation. Drawing on the expertise of faculty in the political science and history de- partments, we immersed ourselves in the historical and political complexities of North- ern Ireland. Students conducted extensive research, focusing on first-hand accounts of those who have suffered during the violence which has torn the tiny country for generations. Gradually, as we read, discussed, watched documentaries, films, IRA recruit- ment videos and other source material, the group formulated primary goals. In order to devise a piece of theatre which would powerfully affect audiences with the need to find peaceful means for conflict resolution, the ensemble would have to find a way to impress upon media-desensitized audiences the personal, visceral horrors of death and destruction created by terrorist acts in the name of religious freedom. Shakespeare’s tragedy would draw our audiences with a familiar story; our goal would be to “make strange” that story by emphasizing the violence of angry men and women focused on vengeance and retribution rather than the love story of Romeo and Juliet. The original material we would devise—monologues and scenes—would be taken from true accounts, but would be fictionalized to a certain extent, the ensemble agreeing that names and specifics should be changed out of respect for the victims of violence. Workshops throughout the fall semester focused on selecting which stories to dramatize and on determining where and how the original material would be woven throughout the text of Shakespeare’s play. We extensively cut the source text, altering certain plot points in order to make the storyline consistent with our 20th Century, Northern Ireland setting. For example, it was necessary to eliminate Shakespeare’s prince since there was no state authority in Northern Ireland recognized by all sides of the conflict. The prince’s action was divided between the Friar and a character we created based on a Royal Ulster Constabulary officer. The Friar character became a Catholic priest whose desire to achieve peaceful conflict resolution led him to the dangerous decision to secretly marry a Protestant (Romeo) and a Catholic (Juliet). We began by structuring the piece as two distinct stories, Shakespeare’s tragedy and that of the people of Northern Ireland, with scenes alternating between iambic pentameter and original material. The workshop process eventually led to a much more integrated script, in which Shakespeare’s characters retained their names and central storylines, but were given “back stories” that revealed how the Northern Irish conflict affected their actions within Shakespeare’s plot. For example, in our text Romeo is a young Protestant seeking to avoid involvement in the violence, but pressured by his friend, Mercutio, to become a volunteer for a Loyalist paramilitary group. Lady Capulet’s The Troubles of Romeo and Juliet 55 bitterness in the scene after Tybalt’s murder is deepened by her memories of the shooting of the innocent citizens of Derry by British soldiers on Bloody Sunday. The dramaturgical challenge of integrating contemporary Irish language with Elizabethan poetry was difficult and ongoing throughout the creative process. One unifying element which smoothed stylistic shifts was the Irish accent used by actors throughout the text. The accent imbued the contemporary material with a poetic quality that made it seem less jarring when juxtaposed with Shakespeare’s poetry; conversely, when spoken with an Irish brogue, the iambic pentameter assumed a rougher, more contemporary feel. Another language-related issue was the question of whether contemporary expressions, some of them profane, should be expurgated from the Irish sections of the text since Shakespeare’s Elizabethan bawdy is not perceived by contemporary audiences as profane. After consulting with natives of Northern Ireland, the creative team ultimately decided that deleting the profanities would seriously undermine the cultural authenticity of the Irish material. Expressions which register as profane to American ears are commonplace in Ireland and an integral component of the color and energy of the Irish speech. The political and social goals of The Troubles of Romeo and Juliet were not limited to the audience. The piece was also conceived as an experiment in embodied learning, a methodology of teaching based on the belief that the imaginative perfor- mance process of identifying with a dramatic character and situation offers powerful potential for learning and transformation on multiple levels. If student actors learned to identify emotionally and intellectually with victims and combatants of the Troubles, the world view of those students would be more deeply impacted than if they studied Northern Ireland in a more conventional and objective context. The process of identifying with the realities of the Troubles was a challenging one for student performers since we were not working in Northern Ireland. However, the fact that a substantial number of the cast were of Irish heritage, some with cousins and other family members still living in Northern Ireland, was helpful in creating a sense of community with the Northern Irish. The planned campus visits of Gerry Adams and Betty Williams—two important political figures of Northern Ireland—had been important factors in our decision to devise The Troubles of Romeo and Juliet. Adams and Williams shared experiences and feelings which helped the students engage with the material in a more visceral and personal fashion, intensifying students’ understanding—emotional and intellectual—of the community of northern Ireland and the pain caused by the long- lived inability to resolve conflict without violence. Portions of Adams’ and Williams’ public addresses, as well as material gathered from small group meetings with the cast, were integrated into the text. Each ensemble member, assisted by our two production dramaturges, chose the account which he or she would perform. Selecting the stories with which they felt the strongest connections enabled the performers to identify intensely with the characters devised from our research; the actors imaginatively merged with victim or perpetrator. As with our earlier work with veterans and student interviewers/performers, it was the process of internalizing and expressing the life experience of a real person in crisis that triggered the transformation of awareness and engagement in the performer. Through the process of devising and performing the material the student 56 Crystal Brian participants made the conflict personal and real for themselves. The tragedy of Shakespeare’s story became one with the litany of violence and loss expressed through the personal tragedies of thousands of men, women and children who have lost their lives since the Troubles began. The back-stories of Shakespeare’s characters were devised to include many different perspectives. Mercutio spoke as a member of one of the most violent of the Protestant Loyalist paramilitary groups, the Shankill Butchers; Tybalt became a Catholic IRA officer; the Nurse’s fiancée was executed by Loyalists as she watched; Juliet’s friend, a Protestant, was beaten to death by Loyalists who mistook her for a Catholic. Each speaker felt justified in his or her hatred of the murderer of a loved one; each felt a need for vengeance. And each act of vengeance led to more violence. In imaginatively identifying with the horrific, and real, experiences on which the character of Mercutio was based, the student playing the role was forced to find the humanity in indefensible acts of violence. To understand in some measure the pain of such a character transformed the student’s understanding of the complexities of the tragic impasse between Loyalists and Republicans, between Protestants and Catholics Juliet, overcome with fear at the dangerous path on which she has embarked, remembers the story of a Protestant girl, a young mother, who was murdered brutally because a group of Protestant Loyalists assumed she was Catholic. What world are we livin’ in, where a mother is killed because she asks the wrong man to dance? Where a wee little girl listens to her mother scream while she’s beaten to death by drunken animals who hate because it makes’ em feel like they’re men. Christ, when are we going to stop killin’ each other because we’re afraid? (27) The monologue, drawn from the tragic death of an innocent young woman in Belfast in the mid-seventies, became a touchstone for the performer playing Juliet. In reliving the senseless violence of Anne’s murder, the actor’s identification with victims of hatred everywhere was complete, the gap between fiction and reality closed by the power of the story. Was our experience in devising The Troubles of Romeo and Juliet a success? Although each new version of the text has more cohesively blended our dispar- ate materials, the script has not yet evolved into a seamless whole. Some audience members have been disturbed by the liberties taken with Shakespeare’s original story. And we continue to experiment with a more organic blending of Irish scenes and characters with those of Shakespeare. Still, it is clear to those of us involved in the creation of the production that a process which can viscerally demonstrate to young people the horror and waste of conflict and the increasing urgency for peace is one of great value in a world torn by war, terrorism and alienation. In this sense, The Troubles of Romeo and Juliet was a success, contributing to hunger striker Bobby Sand’s vision for a future free of hatred and recrimination, a future when “Our best revenge will be our children’s laughter.” The Troubles of Romeo and Juliet 57 The Troubles of Romeo and Juliet By Crystal Brian, Kevin Daly and Susan Dering Quinnipiac University

Setting: Northern Ireland, 1970s

Cast: Romeo (Protestant, early 20s, noncombatant) Benvolio (Romeo’s cousin, Protestant, early 20s, Loyalist Paramilitary) Mercutio (Protestant, late 20s, member of Shankill Butchers) Lord Montague (former Loyalist paramilitary combatant) Lady Montague (Romeo’s mother, Protestant) Juliet (Catholic, early 20s) Lord Capulet (Catholic, former IRA volunteer) Lady Capulet (Juliet’s mother, Catholic, a witness of the events of Bloody Sunday) Catherine (Juliet’s cousin, mid 40s, Catholic) Moira (Juliet’s friend, mid 20s, Catholic) Mary (Catholic, early 20s, works for Capulets) Policeman (Royal Ulster Constabulary officer) Balthasar (Protestant, friend of Romeo’s, mid-twenties) Paris (Catholic, late 20’s, friend of Capulet family) The Father (Catholic priest and peace worker in the community) Sam, Greg, Jon (group of Catholic young men intent on joining the IRA) Adam (Protestant, early 30s, loyalist paramilitary)

(NOTE: In the production, a group of Irish musicians—bodhran, fiddle, flute and guitar—create scene transitions as well as under-scoring the action in selected scenes. The dance at the Capulet house is an Irish step-dance. Actors speak with the accent of Northern Ireland, unifying the original Irish material and Shakespeare’s poetry.)

Synopsis

The Troubles of Romeo and Juliet, an adaptation of Shakespeare’s tragedy, is set in Northern Ireland during the 1970s, the most violent period of The Troubles. Romeo— son of a Protestant family—is deeply troubled by the violence of his society. Romeo’s cousin, Benvolio and his close friend, Mercutio, are soldiers in the armed conflict. Mercutio is a member of an infamous Loyalist paramilitary organization, the Shankill Butchers, a group known for its use of knives and hatchets in a series of bloody murders in Belfast. Juliet and her family are Catholics, and Juliet’s cousin, Tybalt, is an IRA volunteer. The play follows the journey of Romeo as he is drawn, against his will, into the seemingly unbreakable cycle of vengeance and hatred that has cost so many Irish lives. Throughout Shakespeare’s script are woven original scenes and monologues drawn from newspaper accounts of acts of senseless violence in Northern Ireland. 58 Crystal Brian

The Troubles of Romeo and Juliet By Crystal Brian, Kevin Daly and Susan Dering (A group of young Irish men move down a Sam city street. Everywhere there are stone We could get in trouble. police barricades. The sound of an Irish bodhran, wild, militarisitic, is heard Greg faintly, growing in tempo and volume throughout the scene) I knew he was too scared to fight—

Sam Sam I’m not! I am tough enough.

Jon Greg (Picking up a rock from the ground) Is that right? So if you’re not scared— (He hands Sam the rock.) Sam I can fight. Sam What do you want me to do with this? Jon More like you can run. Jon Throw it at them, fool. (The two older boys have a good laugh.)

Sam Sam But I could hit someone— If I saw a Montague…I’d cut his throat.

(He pulls out an imaginary knife and Greg begins acting out his deed.) I knew he was too much of a coward. Come on Jon, let’s go. Greg (They begin walking away.)

(Looking down the street) Sam It looks like you might have your chance. (Torn, he looks down the road, then back at his friends) Sam Wait…I’ll do it. What? Greg (A group of boisterous men is heard He won’t. offstage.) Sam Jon I will. Here comes some Montagues. So prove how tough you are. (Holding the rock, he pulls his arm back and stares down the road.) The Troubles of Romeo and Juliet 59 Jon It too meant no harm? Do it. (He waits for a response from Benvolio, (Sam hurls the rock. Almost immediately a but gets none.) group of boys and men appear.) Tell me something. Would you have left him on the street? Or would you have had Adam the decency to drag his body away before What the hell! Did you just throw a rock at his mother found it? me? (The thought sends him into a rage and he shoves Benvolio to the ground.) (Pause. Sam doesn’t know what to do. He is frozen with fear as he looks back to his You Protestant fuck! buddies, who have run off) (Lord Capulet enters.) Adam Capulet Answer me. Did you just throw a fuckin’ rock Tybalt! at me? (He attacks Sam, viciously knocking him to (Tybalt looks back just long enough for the ground.) Benvolio to raise his gun. Everyone He’s a goddamn Catholic. freezes. Lord Montague enters. )

(The gang advances on Sam, kicking and Montague punching him as he writhes on the ground. A group of Irish women enter. Two of them Benvolio! Think this through. Now is not kneel by Sam, protecting him from the gang. the time. Others confront the men, imploring them to stop the attack.) Capulet Will you wait until we’ve gone to sleep to Woman finish your deed? For God’s sake, he’s just a boy. And you’re drunk, the lot of you. Stop it, you’ll kill him. Montague Why? You lookin’ to die? (The man pushes her away as BENVOLIO enters.) Capulet He’s scared. Kill him Tybalt. Benvolio (Gun drawn) (The Father rushes in and throws himself Leave him be. You know not what you do. between the two.)

(Tybalt enters, with his gun drawn on Benvolio.)

Tybalt One move. One move and I swear to god— Benvolio (Stands frozen, his back to Tybalt, gun at his side) You don’t understand. I meant no harm. Tybalt

And your gun? Tempers rise among Catholics and Protes- tants (He looks at Sam, beaten on the ground.) 60 Crystal Brian Father Your father had nothing to do with what Are you monsters, you enemies to peace, happened today. profaners of this neighbour-stained steel, will you not hear? My God, you men, you Romeo beasts, that quench the fire your pernicious No you’re wrong. My father had everything rage with purple fountains issuing from to do with what happened today. your veins, stop this torture and from those bloody hands. Throw your Benvolio mistemper’d weapons to the ground. The Should he sit back and wait for them to kill us time will come when, wreaking terror in all? At least he’s not a victim. our streets, your lives shall pay the forfeit of the peace. Romeo You’re right, he’s not a victim. (The men slowly gather up their weapons and retreat. The Father goes to Sam. He Benvolio and the women help the boy up and lead What’s your problem? him off.) Montague Romeo What on earth just happened? How many have you killed?

Benvolio Benvolio Adrienne came screaming that some of our Fuck off. boys had gotten into a fight. I tried to break it up but the bastard drew his gun on Romeo me. You saw the rest. At what number do they promote you?

Montague Benvolio My son? Are we to pretend they aren’t terrorizing our neighborhoods? Benvolio He wasn’t there? Romeo Women, children? Does it even matter? Montague Good. You should stay low for awhile. I’m Benvolio sure the police will be looking for you. They hide behind their hoods because they’re Why don’t you give me that? too scared to look their victims in the eye. (Romeo enters as Benvolio hands Montague the gun.) Romeo Keep an eye on your cousin. He lives in a And why do you wear a hood? (No answer.) world that doesn’t exist. You think I don’t know? You think this whole town doesn’t know? They don’t (Montague walks off as Romeo enters. The respect you Benvolio. They fear you. There’s two stop as they pass and look at one a fuckin’ difference. another. Romeo says nothing. Montague exits.) Benvolio I wasn’t given a choice. Benvolio Good morning, cousin. Romeo And I was? Romeo Is it that? Benvolio (Benvolio doesn’t answer.) You don’t know what it’s like. You live in My father couldn’t do his own dirty work? your own little world. Those bastards murdered my cousin. Benvolio The Troubles of Romeo and Juliet 61 Romeo death, dyin’ instantly in the fireball. The He was my friend! And don’t you ever forget other was drenched with burnin’ petrol. He that. I walked to school every morning with ran along the train screamin’ “I’m burnin’, Jimmy. And I’ve seen more death than you’ll help me.” ever see from behind your gun, because I open my eyes when people die. I don’t turn When the IRA admitted the bombin’ they and run away. I hate them more than you’ll said: “Unfortunately the unexpected is not ever know. But death can find this place somethin’ we can predict or prevent in the without my help. war situation this country is in. The consequences of the unexpected are often Benvolio grave and distressin’, as Thursday night’s (enraged) accident shows. To all the bereaved I was walkin’ there with you, you bastard. families we offer our deepest and heartfelt sympathy.” Romeo (quietly) Jimmy burned to death. So did the IRA I know. bastard carryin’ the bomb. I hate them for what they did to my cousin. Benvolio (He turns to Romeo.) He didn’t deserve to die. What am I supposed to do with this hate?

Romeo (Lights fade on Benvolio and Romeo.) I know. (Lights up on Lady Capulet in Juliet’s Benvolio bedroom.) (overcome with the memory) He wasn’t just my cousin—he was my best Lady Capulet friend. We went to the same school. Played (calling) rugby together. Christ, he was funny. No one Catherine? Catherine? could make me laugh like Jimmy. No one (A woman, early 40s, enters.) could make me as mad as he could either. But Where’s my daughter? Call her forth to just about the time I was ready to kill him, me. he’d do somethin’ brilliant and all I could do was laugh. I loved him. Like a brother. Catherine God in heaven, I’ve called the girl twice We were seventeen the year he died. It was already. Where is she? Juliet! January 17, 1980. We were supposed to play in a cup match two days later. They Juliet postponed the match out of respect. Jimmy (offstage) had spent the day in Ballymena, on holiday. How now! Who calls? He was on the train back to Belfast, about to get off at the next stop, Grangeville Gardens Catherine in Finaghry. The train had just passed through Your mother. the Black’s Road tunnel when the bomb exploded. A fireball swept through the Juliet carriage, killing three of the passengers— (entering) Jimmy, the IRA scum carryin’ a knapsack Mother, I am here. What is your will? with the bomb and a Nigerian immigrant with three children, an accountant who’d lived in Lady Capulet Belfast for ten years. This is the matter: — Catherine, give Two of the bastards had boarded the rear leave awhile, we must talk in secret: — carriage of the train. Each one had a bomb. Catherine, come back again; I have They were goin’ to plant the bombs then remember’d me, thou’s hear our counsel. leave the train to telephone a warnin’. But Thou know’st my daughter’s of a pretty one of the bombs went off prematurely when age. the fella tried to prime it. He was burned to 62 Crystal Brian Catherine Lady Capulet Faith, I can tell her age unto an hour. An I We follow thee. might live to see thee married once, I have (The girl exits.) my wish. Juliet, your man waits. (Lady Capulet exits. Catherine goes to Juliet.) Lady Capulet Marry, that ‘marry’ is the very theme. I Catherine came to talk of. Tell me, daughter Juliet, I’m so happy for you, my love. May the how stands your disposition to be married? good Lord protect you and give you all the joy and good fortune you deserve. Juliet (She holds Juliet to her tightly, overcome with It is an honour that I dream not of. emotion, then releases her.) Go, sweet, seek happy nights to happy days. Catherine (laughing) (Juliet exits. Catherine watches her go, then An honour! turns to the audience, matter-of-factly, with great humor and strength.) Lady Capulet Well, think of marriage now; the valiant Catherine Paris seeks you for his love. Michael and I had known each other since we were wee little children. Catherine But he didn’t have the balls to ask me out A man! Oh, Juliet, such a man as all the until we were sixteen. Well, no. I was sixteen. world. He was eighteen. After two years he proposed to me. Well, no. I wouldn’t call it a proposal Lady Capulet exactly. Since I made him do it. He had this What say you? Can you love the crazy idea to go traveling around the world gentleman? This night you shall behold with his buddies. I wasn’t gonna let him just him at our feast; read o’er the volume of walk out of my life was I? I said, “Michael, young Paris’ face, and find delight writ do you love me?” “Of course” he says. I say, there with beauty’s pen; so shall you share “Michael, if you love me so much. Then all that he doth possess, by having him, you’d better propose to me or I’m gonna run making yourself no less. off with your brother.” And then I swear to you by Christ he gets down on one knee and Catherine says, “Catherine I love you more than the (laughing) rooster and less then the hen, but you’re all I No less! nay, bigger; women grow by men. got and I’ll be dammed if I let my bastard brother steal that away from me.” Then we Lady Capulet both had a good laugh and he got up and Speak briefly, can you like of Paris’ love? threw his big arms around me and began tickling me with his beard. He looks me in Juliet the eyes and says “Catherine, so help me god, I’ll look to like, if looking liking move: I’ve never loved anybody more than I love but no more deep will I endart mine eye you. Will you have me?” Now what’s a good than your consent gives strength to make little Catholic girl going to say to that? it fly. “Fuck yeah”, I says.

(A neighborhood girl enters) (She laughs deeply at the memory.)

Mary A couple o’ days later Michael took me out The guests are come, supper served up, you to celebrate at his favorite place. The woods called, my young lady asked for, and every besides me house! After we were done thing in extremity. I must hence to wait; I “celebrating” we went and sat in his car. I beseech you, follow straight. didn’t want to leave him just yet, I don’t know why. I kept asking him questions about our future, how many kids we’d have, what The Troubles of Romeo and Juliet 63 their names would be. A car pulled up behind us. I didn’t think anything of it. Figured it Mercutio was just my brother pulling up behind us. I If love be rough with you, be rough with looked over at Michael and he had gone pale love; prick love for pricking, and you beat white, like he’d seen the holy father or love down. something. Just then six men surrounded the Give me a case to put my visage in: a visor car. Well, no. Not men. Men don’t hide for a visor! What care I what curious eye behind hoods. They opened my door first. doth quote deformities? Here are the beetle “Don’t touch her!” Michael screamed. An brows shall blush for me. arm grabbed me and threw me to the ground. “Don’t move” he whispered then pushed my Benvolio head hard against the ground. Michael didn’t Come, knock and enter; and no sooner in, scream. He didn’t cry. I hear eleven shots but every man betake him to his legs. every morning when I wake up, and I hear eleven shots every night when I go to bed. Mercutio Alone. Come, we burn daylight, ho!

(Lights cross-fade on Catherine, lost in the Romeo past, and come up on Romeo, Mercutio and Nay, that’s not so. Benvolio walking down the street in high spirits.) Mercutio I mean, sir, in delay we waste our lights in Romeo vain, like lamps by day. Take our good And what mean we by goin’ to a Catholic meaning, for our judgment sits five times party? in that ere once in our five wits.

Benvolio Romeo Let them measure us by what they will; we’ll And we mean well in going to this mask; measure them a measure, and be gone. but ’tis no wit to go.

Romeo Mercutio Give me a torch: I am not for this ambling; Why, may one ask? being but heavy, I will bear the light. Romeo Mercutio I dream’d a dream to-night. Nay, gentle Romeo, we must have you dance. Mercutio Romeo And so did I. Not I, believe me: you have dancing shoes with nimble soles: I have a soul of lead so Romeo stakes me to the ground I cannot move. Well, what was yours?

Mercutio Mercutio You are a lover; borrow Cupid’s wings, and That dreamers often lie. soar with them above a common bound. Romeo Romeo In bed asleep, while they do dream things Under love’s heavy burden do I sink. true.

Mercutio Mercutio And, to sink in it, should you burden love; O, then, I see Queen Mab hath been with too great oppression for a tender thing. you. She is the fairies’ midwife, and she comes in shape no bigger than an agate- Romeo stone on the fore-finger of an alderman, Is love a tender thing? it is too rough, too drawn with a team of little atomies athwart rude, too boisterous, and it pricks like thorn. men’s noses as they lie asleep; Her wagon- 64 Crystal Brian spokes made of long spiders’ legs, the Benvolio cover of the wings of grasshoppers, the This wind, you talk of, blows us from traces of the smallest spider’s web, the ourselves; supper is done, and we shall come collars of the moonshine’s watery beams, too late. her whip of cricket’s bone, the lash of film, her wagoner a small grey-coated gnat, Romeo not so big as a round little worm prick’d I fear, too early: for my mind misgives some from the lazy finger of a maid; her chariot consequence yet hanging in the stars shall is an empty hazel-nut made by the joiner bitterly begin his fearful date with this night’s squirrel or old grub, time out o’ mind the revels and expire the term of a despised life fairies’ coachmakers. And in this state she closed in my breast by some vile forfeit of gallops night by night through lovers’ untimely death. But He, that hath the brains, and then they dream of love; o’er steerage of my course, direct my sail! On, courtiers’ knees, that dream on court’sies lusty gentlemen. straight, o’er lawyers’ fingers, who straight dream on fees, o’er ladies ‘ lips, who (Lights fade as Romeo, Mercutio and straight on kisses dream, which oft the Benvolio exit. Musical interlude. Lights come angry Mab with blisters plagues, because up on party guests Irish step-dancing and their breaths with sweetmeats tainted are: celebrating in Capulet house. Paris and sometime she gallops o’er a courtier’s Capulet speak over the noise.) nose, and then dreams he of smelling out a suit; and sometime comes she with a tithe- Paris pig’s tail tickling a parson’s nose as a’ lies My lord, what say you to my suit? asleep, then dreams he of another benefice: sometime she driveth o’er a Lord Capulet soldier’s neck, and then dreams he of Woo her, gentle Paris, get her heart, my will cutting foreign throats, of breaches, to her consent is but a part. ambuscadoes, Spanish blades, of healths (A Capulet relative arrives. Capulet greets the five-fathom deep; and then anon drums in guest.) his ear, at which he starts and wakes, and Welcome, gentleman! You are welcome! being thus frighted swears a prayer or two Musicians, play. Foot it, girls. and sleeps again. This is that very Mab that plats the manes of horses in the night, (Romeo, Benvolio and Mercutio, with hoods and bakes the elflocks in foul sluttish hairs, of sweat shirts pulled up to hide their faces, which once untangled, much misfortune enter behind Capulet as he talks to the bodes: this is the hag, when maids lie on relative. They quickly join in the dancing. their backs, that presses them and learns When the song ends, Romeo—who has been them first to bear, making them women of watching Juliet—turns to one of the party good carriage: this is she— guests.)

Romeo Romeo Peace, peace, Mercutio, peace! Thou What lady is that? talk’st of nothing. Guest Mercutio I know not sir. True, I talk of dreams, which are the children of an idle brain, begot of nothing Romeo but vain fantasy, which is as thin of She doth teach the torches to burn bright! substance as the air and more inconstant The measure done, I’ll watch her place of than the wind, who wooes even now the stand, and, touching hers, make blessed my frozen bosom of the north, and, being rude hand. Did my heart love till now? anger’d, puffs away from thence, turning forswear it, sight! For I ne’er saw true beauty his face to the dew-dropping south. till this night. The Troubles of Romeo and Juliet 65 (Romeo waits for a break in the dance when (Tybalt exits. During the exchange between Paris leaves Juliet to get himself a drink. Capulet and his nephew, the dance has Romeo quickly takes Paris’ place, dancing ended. Romeo takes Juliet’s hand and and laughing with Juilet. Tybalt watches the pulls her with him, through the dancers couple closely, exploding with rage when he and off to a private area where the two sit, realizes who Romeo is.) out of breath and laughing.) Romeo Tybalt If I profane with my unworthiest hand this This should be a Montague! holy shrine, the gentle fine is this: my lips, (to a young Capulet family member standing two blushing pilgrims, ready stand to near) smooth that rough touch with a tender Get me my gun! kiss. (The boy exits.) Now, by the stock and honour of my kin, to JULIET strike him dead, I hold it not a sin. Good pilgrim, you do wrong your hand too much, which mannerly devotion shows in Capulet this; for saints have hands that pilgrims’ (noticing Tybalt’s fury and moving him away hands do touch, and palm to palm is holy from the crowd) palmers’ kiss. Why, how now, kinsman! Wherefore storm you so? ROMEO Have not saints lips, and holy palmers Tybalt too? Uncle, this is a Montague, our foe, a villain that is hither come in spite, to scorn at our JULIET solemnity this night. Ay, pilgrim, lips that they must use in prayer. Capulet Young Romeo is it? ROMEO O, then, dear saint, let lips do what hands Tybalt do; they pray, grant thou, lest faith turn to ’Tis he, that villain Romeo. despair.

JULIET Capulet Saints do not move, though grant for Content thee, gentle coz, let him alone; I prayers’ sake. would not for the wealth of all the town here in my house do him disparagement: therefore ROMEO be patient, take no note of him. Then move not, while my prayer’s effect I take. Thus from my lips, by yours, my sin Tybalt is purged. It fits, when such a villain is a guest: I’ll not endure him. JULIET Then have my lips the sin that they have Capulet took. He shall be endured! ROMEO (Capulet moves back to party guests.) Sin from thy lips? O trespass sweetly urged! Give me my sin again. Tybalt Patience perforce with wilful choler meeting JULIET makes my flesh tremble in their different You kiss by the book. greeting. I will withdraw: but this intrusion shall now seeming sweet convert to bitter (Catherine notices Romeo and Juliet and gall. quickly crosses to them.) 66 Crystal Brian CATHERINE I know not. Juliet, your mother craves a word with you. JULIET (Juliet leaves.) ROMEO Go ask his name: if he be married. My grave is like to What is her mother? be my wedding bed. CATHERINE CATHERINE (stops cleaning and crosses to Juliet) Her mother is the lady of the house. What His name is Romeo, and a Montague; son of your are you thinkin’, you and your friends, great enemy and friend to those who hate our kind. comin’ here? Leave now, before any of the others see you. JULIET (As Romeo begins to protest. My only love sprung from my only hate! Too early Fiercely.) seen unknown, and known too late! Leave the girl alone. Don’t you know the Prodigious birth of love it is to me, that I must love a world of trouble you’ll be bringin’ on her? loathed enemy. (She leaves.) LADY CAPULET (offstage) ROMEO Juliet! Is she a Capulet? O dear account! my life is my foe’s debt. CATHERINE (Taking Juliet by the arm.) (As Tybalt returns with a group of men, Come, let’s away; the strangers all are gone. Mercutio and Benvolio rush to Romeo.) (Juliet pulls away and crosses back to the door, BENVOLIO staring after Romeo.) Away, begone; the sport is at the best. CATHERINE ROMEO Juliet! Ay, so I fear; the more is my unrest. (The three exit hurriedly, as Capulet and (Juliet doesn’t answer. After a moment Catherine Tybalt watch for a moment. Capulet bids sighs, deeply troubled, then gathers up more dishes the rest of the guests goodnight, then turns and exits. Juliet stands, lost in thought. Moira to his his wife and Juliet.) watches her for a moment, then crosses to the door and stands beside Juliet on the porch, looking at the LORD CAPULET night sky.)

Come on then, let’s to bed. MOIRA It’s beautiful out tonight. (Everyone exits but Juliet, Catherine and a young girl, one of the party guests, who JULIET sits by herself, listening to the nurse and (startled, turns to her) Juliet.) Yes. Yes, it is.

JULIET MOIRA (after a moment) Come hither, Catherine. What is yond A year ago tonight it was that Stephen died. A clear, gentleman? still evenin’. Like this one.

CATHERINE JULIET Moira, I’m sorry. I didn’t realize… (Cleaning up the remains of the party.) MOIRA (intensely) The Troubles of Romeo and Juliet 67 What can you be thinkin’? They hate us. You ground, in memory of the ones who have know that. How can you let one of ‘em touch died in these Troubles. One of them you like that, knowin’ what they’ve done. crosses, it was for Stephen.

(Juliet is silent.) His sisters sang one of his songs at the rally. “What Price Peace?” he called it. MOIRA (She sings.) (Crossing to the edge of the porch, she sits on “What price peace, the steps, looking out at the night. Without will it cost us all our lives? emotion.) And when there’s no one left to die, He had a beautiful voice, my Stephen. Will peace come then? Whenever he wrote a new song I was the first What price peace, one he’d play it for.. In his room at is it coming, is it gone? University. I’d lie there on his bed as he Have we had our share played his guitar. I could have listened to him or is it still to come?” for the rest of my life. (She holds the last note for a moment, I was so proud when he played at the peace then silence. She stands, turns to look at meetin’s. He had started a group, Witness for Juliet, then walks down the porch steps Peace, when he was a student. He never and off into the night. Juliet stands missed a rally. watching her, then crosses to sit on the steps where Moira had been. Romeo enters (Juliet listens silently as Moira continues in the street; seeing Juliet on the porch steps the same, matter-of-fact fashion.) he quickly hides himself.)

The Shankill Butchers killed him. It was a ROMEO Saturday night. We’d been to a dance at the But soft! What light through yonder Queen’s University student union. There was window breaks? It is the east, and Juliet is a party after. By the time we left, it was two the sun. It is my lady, it is my love! in the mornin’. Stephen was walkin’ me home. We’d got to Brown Street, near city JULIET centre, when a car pulled up beside us. I’ll Ay me! never forget that car—mustard yellow it was—a Ford Cortina. Four of ‘em jumped out. ROMEO One pushed me down on the ground. The She speaks: other three grabbed Stephen and threw him O, speak again, bright angel! into the back of the car. Lyin’ there in the street I heard the tires scream as the car raced JULIET away. I got up on me knees in time to see the O Romeo, Romeo! Deny thy father and red tail lights in the distance. I screamed as refuse thy name; or, if thou wilt not, be but they turned the corner. Then there was sworn my love, and I’ll no longer be a nothin’… but blackness. Capulet. ’Tis but thy name that is my enemy; thou art thyself, though not a I found out later they had been drinkin’ all Montague. What’s Montague? It is nor night at a Loyalist club. When the club closed hand, nor foot, nor arm, nor face, nor any they decided to go out and get a Taig. After other part belonging to a man. O, be some they put Stephen in the car they stopped at a other name! What’s in a name? That house. One of ‘em ran in to get a gun and and which we call a rose by any other name a knife. Then they drove to Glencairn. They would smell as sweet; so Romeo would, took my Stephen inside, to the back of a club. were he not Romeo call’d, retain that dear They shot him in the head, then cut his perfection which he owes without that throat with a butcher knife. My sweet title. Romeo, doff thy name, and for that Stephen, with his beautiful voice… name which is no part of thee take all myself. A week after he died his group held a rally. They planted 1,162 white crosses in the 68 Crystal Brian ROMEO think my ‘havior light: but trust me, I take thee at thy word: gentleman, I’ll prove more true than those that have more cunning to be strange. I JULIET should have been more strange, I must What man art thou that thus bescreen’d in confess, but that thou overheard’st, ere I was night so stumblest on my counsel? ware, my true love’s passion: therefore pardon me, and not impute this yielding to ROMEO light love, which the dark night hath so By a name I know not how to tell thee discovered. who I am: my name, is hateful to myself, because it is an enemy to thee; had I it ROMEO written, I would tear the word. Lady, by yonder blessed moon I swear that tips with silver all these fruit-tree tops— JULIET My ears have not yet drunk a hundred JULIET words of that tongue’s utterance, yet I O, swear not by the moon, the inconstant know the sound: art thou not Romeo and a moon, that monthly changes in her circled Montague? orb, lest that thy love prove likewise variable. ROMEO Neither, if either thee dislike. ROMEO What shall I swear by? JULIET How camest thou hither, tell me, and JULIET wherefore? The orchard walls are high and Do not swear at all; or, if thou wilt, swear by hard to climb, this place is death, thy gracious self, which is the god of my considering who thou art, if any of my idolatry, and I’ll believe thee. kinsmen find thee here. If they do see thee, they will murder thee. ROMEO If my heart’s dear love— ROMEO There lies more peril in thine eye than JULIET twenty of their guns: look thou but sweet, Well, do not swear: although I joy in thee, I and I am proof against their enmity. have no joy of this contract to-night: it is too rash, too unadvised, too sudden; too like JULIET the lightning, which doth cease to be ere one I would not for the world they saw thee can say ‘It lightens.’ Good night, good night! here. As sweet repose and rest come to thy heart as that within my breast! ROMEO (she starts to go inside) I have night’s cloak to hide me from their sight; and but thou love me, let them find ROMEO me here: my life were better ended by their (blocking the doorway) hate, than death prorogued, wanting of thy O, wilt thou leave me so unsatisfied? love. JULIET JULIET (taken aback) Dost thou love me? I know thou wilt say What satisfaction canst thou have to-night? ‘Ay,’ and I will take thy word: yet if thou swear’st, thou mayst prove false. O gentle ROMEO Romeo, if thou dost love, pronounce it The exchange of thy love’s faithful vow for faithfully: or if thou think’st I am too mine. quickly won, I’ll frown and be perverse and say thee nay, so thou wilt woo; but else, JULIET not for the world. In truth, fair Montague, (softening) I am too fond, and therefore thou mayst The Troubles of Romeo and Juliet 69 I gave thee mine before thou didst request it: ROMEO and yet I would it were to give again. My So thrive my soul— bounty is as boundless as the sea, my love as deep; the more I give to thee, the more I JULIET have, for both are infinite. A thousand times good night! (From inside the house Catherine calls, “Juliet!”) ROMEO I hear some noise within; dear love, adieu! A thousand times the worse, to want thy Anon, Catherine! Sweet Montague, be true. light. Stay but a little, I will come again. (He starts to exit.) (Juliet starts to go inside the house, but Romeo moves quickly toward her, pulls her to JULIET him and kisses her. After a moment, she Romeo! At what o’clock to-morrow shall I responds. Finally, she pushes him away.) send to thee?

JULIET ROMEO Three words, dear Romeo, and good night At the hour of nine. indeed. If that thy bent of love be honourable, thy purpose marriage, send me JULIET word to-morrow, by one that I’ll procure to I will not fail: ’tis twenty years till then. I come to thee, where and what time thou wilt have forgot why I did call thee back. arrange with the priest to perform the rite; and all my fortunes at thy foot I’ll lay and ROMEO follow thee my lord throughout the world. Let me stand here till thou remember it. Forgetting any other home but this. CATHERINE (offstage) JULIET Juliet! Tis almost morning; I would have thee gone: good night, good night! Parting is JULIET such (calling to Catherine) sweet sorrow, that I shall say good night I come, anon— (to Romeo) But if thou till it be morrow. mean’st not well, I do beseech thee— (Catherine has comes to the door in time CATHERINE to hear Romeo and Juliet telling one (offstage) another goodbye. Juliet watches as Romeo Juliet! leaves. She turns and sees Catherine.)

JULIET JULIET (calling to Catherine) (After a moment. With great simplicity and By and by, I come. strength.) (continuing, to Romeo)—to cease thy suit, I don’t care. I love him. and leave me to my grief. (Juliet and Catherine stare at one another (The two stare at one another for a moment, for a long moment.) overwhelmed by the implications of what they are doing. Finally Romeo breaks the silence.) CATHERINE (quietly) ROMEO Then God help us all. I will go to the priest. (Catherine holds Juliet close to her. After a JULIET moment Juliet pulls away, and returns to (quietly) the porch steps. Catherine stands, Then tomorrow will I send for thee. listening.) 70 Crystal Brian JULIET What world are we livin’ in, where a She wasn’t much older than me, that mother is killed because she asks the Protestant girl. Anne, they said her name wrong man to dance? Where a wee was. She had a wee little one, five years little girl listens to her mother scream old. She was raisin’ her on her own. while she’s beaten to death by Workin’ two jobs and takin’ care of that drunken animals who hate because it little girl. She just wanted a bit o’ fun. Who makes’ em feel like they’re men. could blame her? Christ, when are we going to stop killin’ each because we’re afraid? She went out after work with her girlfriends for a few drinks. There was a (Catherine crosses to Juliet. They sit man she fancied at the club. She asked him in silence as the lights fade.) to dance. It was a Prod club. (Lights come up on the Father in his office When she left to pick up her daughter a reading. There is a knock at the door. Romeo gang of UVF fellas followed her. Just as she steps into the doorway.) and her little one were about to get on the Glengall Street bus, they grabbed her and ROMEO took her and the girl to a loyalists’ club on Good morrow Father. May I come in? the Castlereagh Road. One of ‘em gave the little girl money for sweets; when she left FATHER the room, they locked the door. They (hesitates) pushed Anne in a chair, put a hood over My door is always open. her head and beat her face in with a brick. In the middle of killin’ her they stopped to ROMEO have a smoke. I am alone and I wish no trouble.

As Anne screamed, her little girl stood FATHER outside, bangin’ on that locked door and Come in then. cryin’ “My mama’s in there…” ROMEO They hit Anne more than two dozen times I’ll get right to the point. I was at the with that brick before she died. Capulet house last night—I’m in love with Juliet. After they finished with her, they went out And I want you to marry us…today. for a drink, then to a disco. Later they dumped her body behind an abandoned FATHER house on Donegal Avenue in South Belfast. Is that all? (Pause.) Early the mornin’ Anne was killed her You’re wasting your time son. I won’t help mother got a telephone call from a man you construct your own death. said he was takin’ her daughter home, askin’ if that was where she lived. It was ROMEO one of those drunken animals, soberin’ up I don’t care if I die— and scared he’d killed the wrong girl. The drunken idiots thought she was a Catholic. FATHER One of ‘em said the father of her little girl Neither do I! It’s Juliet I’m protecting. Do was a Provo hunger-striker in Long Kesh you know what the IRA does to Catholic girls and they all believed it. who get mixed up with Protestant boys? (No answer.) If you do love her, then forget her. They killed her, they orphaned that little No good can come of this. girl, because they thought she was Catholic. She wasn’t. She was a Prod. ROMEO No good? That’s the problem with you Catholics, you can’t think for yourselves The Troubles of Romeo and Juliet 71 without getting permission from the fucking pope! (He exits down stairs.) I don’t BENVOLIO understand you. You stand on your soap box Nay, he will answer the letter’s master, and preach peace, but you’re too scared of how he dares, being dared. your own people to actually do anything about it. I came for your help, not your MERCUTIO permission. (Starts to exit.) Alas poor Romeo! Is he a man to encounter Tybalt? FATHER Do you love her Romeo? BENVOLIO (Romeo stops but doesn’t look back.) Why, what is Tybalt? Then you need to think long and hard about (Romeo enters. Benvolio signals Mercutio what you’d be bringin’ her into. Can you to change the subject.) protect her from your own prejudice? It’s her Here comes Romeo. life you risk. Do you know that? MERCUTIO ROMEO (ignoring Benvolio) I’ve done nothing wrong but fall in love. If Signior Romeo, bon jour! there’s a French that’s not enough, then nothing is. salutation to your French slop. You gave us (He starts to exit.) the counterfeit fairly last night.

FATHER ROMEO Wait. Good morrow to you both. What (Romeo stops.) counterfeit did I give you? Don’t do anything rash. Get her to my office this afternoon. It must be done right if it MERCUTIO must be done. The slip, sir, the slip; can you not (Romeo nods, then starts to exit.) conceive? And Romeo—if you ever stand in my office and curse the pope again, I’ll bury you myself ROMEO in God’s green earth. Go. And think about (puzzled by the aggression he senses what I said. behind Mercutio’s joking manner, but attempting to play the game) (Romeo exits. Lights cross-fade on Father Pardon, good Mercutio, my business was and come up on street as Benvolio and great; and in such a case as mine a man Mercutio enter.) may strain courtesy.

MERCUTIO MERCUTIO Where the devil should this Romeo be? Came That’s as much as to say, such a case as he not home to-night? yours constrains a man to bow in the hams. BENVOLIO Not to his father’s. ROMEO Meaning, to court’sy. BENVOLIO Tybalt, the kinsman of old Capulet, hath sent MERCUTIO a letter to his father’s house. Thou hast most kindly hit it.

MERCUTIO ROMEO A challenge, on my life. A most courteous exposition.

BENVOLIO MERCUTIO Romeo will answer it. Nay, I am the very pink of courtesy.

MERCUTIO Any man that can write may answer a letter. 72 Crystal Brian ROMEO Thy wit is a very bitter sweeting; it is a most Pink for flower? sharp sauce.

MERCUTIO ROMEO Right. And is it not well served into a sweet goose?

ROMEO MERCUTIO Why, then is my pump well flowered. O here’s a wit of cheveril that stretches from an inch narrow to an ell broad! (Romeo, pleased at his witticism, slaps Mercutio on the back in a friendly fashion. ROMEO Mercutio responds by shoving back so (happy to have won the war of wits) forcefully that Romeo is knocked off I stretch it out for that word ‘broad;’ which balance. He stares at his friend in added to the goose, proves thee far and wide a confusion.) broad goose.

MERCUTIO MERCUTIO Well said: follow me this jest now till thou (his veneer of self-control shattered by hast worn out thy pump, that when the Romeo’s exuberance; furiously) single sole of it is worn, the jest may Why, is not this better now than groaning for remain after the wearing sole singular. love? Now art thou sociable, now art thou Romeo; now art thou what thou art, by art as ROMEO well as by nature: O single-soled jest, solely singular for the for this driveling love is like a great natural, singleness. that runs lolling up and down to hide his bauble in a hole. MERCUTIO (Mercutio advances on Romeo. Benvolio (barely concealing his fury with Romeo) stops him.) Come between us, good Benvolio; my wits faint. BENVOLIO Stop there, stop there. ROMEO Switch and spurs, switch and spurs; or I’ll MERCUTIO cry a match. (breaking free of Benvolio, he crosses to Romeo, shoving him violently) MERCUTIO I can numb myself to anything. That’s the Nay, if thy wits run the wild-goose chase, I first thing they taught us. You find your spot have done, for thou hast more of the wild- on the wall, create a flame and watch it goose in one of thy wits than, I am sure, I flicker. Block everything else out. But I don’t have in my whole five: was I with you want to numb myself to this. I know where there for the goose? you were last night! Let me tell you something. Every day was a hard day’s work ROMEO for me father. He worked seven days a week Thou wast never with me for anything to support his wife and five children. He took when thou wast not there for the goose. a job as a police officer because it was good, honest, hard work and because he took an MERCUTIO interest in the community that he lived in. I will bite thee by the ear for that jest. Not because he gave a damn about those fuckin’ bastards. He walked out his front door ROMEO one day to two masked men with Brownings Nay, good goose, bite not. pointed at his face. They didn’t even have the decency to take him away from his own home. They shot him in the throat and then like scared little girls they ran. They didn’t MERCUTIO even bother to kill him properly. He lay there choking on his own blood for two hours The Troubles of Romeo and Juliet 73 until my little sister came home from school MERCUTIO to find him dead on the front steps. He ’Tis no less, I tell you, for the bawdy hand drowned in his own blood. of the dial is now upon the prick of noon. I stood at my father’s grave, and I’ll be dammed if you’re gonna prance around with (Mercutio and Benvolio exit.) one of their little sluts! CATHERINE ROMEO Marry, farewell! I pray you, what saucy Watch your fuckin’ mouth— merchant was this that was so full of his ropery? (Romeo attacks Mercutio who wrestles him, pinning him to the ground. The drumming is ROMEO heard, building in intensity and volume as A gentleman that loves to hear himself Mercutio continues.) talk, and will speak more in a minute than he will stand to in a month. MERCUTIO They gave me a browning of my own. Quite CATHERINE similar to the one that killed me father. One Pray you, a word: as I told you, Juliet bade to show those provo bastards we weren’t me inquire you out. What she bade me say, goin’ to roll over and die. I waited for one of I will keep to myself. But first let me tell those pricks outside his house as he drove up ye, if ye should lead her into with his wife and daughter. And that’s when it a fool’s paradise, as they say, it were a very hit me. The killing rage. Like a savage animal gross kind of behavior. I ran to his car and grabbed him by the hair, (Romeo starts to interrupt; Catherine cuts dragged him out of his car kickin’ and him off) screamin’. Threw him to the ground and Try as I might, she’ll not listen to reason. began stomping on his face. He needed to She’s too trustin’. She doesn’t understand pay. Justice needed to be served. As I kicked the world we’re livin’ in. She thinks love the teeth out of his mouth his wife threw will protect the both of you. I know better. herself on top of him. He could barely move. I love her like a sister, so I’m doin’ what I kicked her down flat over him and fired she asked. But I’m beggin’ you now: leave three shots over her shoulder directly into his her alone. No good can come of you and face. I turned to see his daughter bouncing up her. and down a thousand times a second in the back seat of his car. I thought she was gonna ROMEO break her neck on the roof. She was screamin’ (intensely) so loud I thought my ears were gonna bleed. You have no call to trust my kind. I know (The drumming stops. In the silence Mercutio that. And I don’t have the words to make struggles to recover his control, then crosses you believe me. I love her, Catherine. I back to Romeo and helps him up.) never knew what love was until the night I It’s time you start acceptin’ the world you laid eyes on Juliet. And nothin’ in this live in. world or the one beyond is goin’ to keep us apart. (Catherine enters. Mercutio quickly covers, (For a long moment Catherine looks into acting as if nothing has happened.) his eyes. When she doesn’t answer, he continues.) CATHERINE Bid her devise some means to come to God ye good morrow, gentlemen. shrift this afternoon. And there she shall at Father’s cell be shrived and married. MERCUTIO (Catherine stares at him for a moment God ye good den, fair gentlewoman. longer, then turns and exits. Romeo watches her go. He turns to leave and sees CATHERINE his father approaching.) Is it good den? 74 Crystal Brian MONTAGUE Romeo! ROMEO (Romeo stops but says nothing.) I do remember, I just haven’t forgiven you. I’m not going to let you go through with this. (Romeo walks away. Montague watches him go. Lights fade. Lights rise on the Capulet’s ROMEO house where Juliet waits for Catherine to What are you talking about? return.)

MONTAGUE JULIET Is this why you’ve been avoiding me? The clock struck nine when I did send Catherine; in half an hour she promised to ROMEO return. I’m not avoiding you. Perchance she cannot meet him: that’s not so. Now is the sun upon the highmost hill of (He starts to leave.) this day’s journey, and from nine till twelve is three long hours, yet she is not come. MONTAGUE (Catherine approaches.) Do you know what they’ll do to you if O God, she comes! What news? Hast thou they find out? met with him? O Lord, why look’st thou sad? Though news be sad, yet tell them merrily. If ROMEO good, thou shamest the music of sweet news Fuck the IRA. by playing it to me with so sour a face. (Catherine doesn’t answer) MONTAGUE Nay, come, I pray thee, speak; please, please I’m not talking about the IRA. I’m talking speak. about our own. (Catherine looks at Juliet, still not speaking.) (Romeo falters; stares at his father.) Is thy news good, or bad? Answer to that; say I’ve already lost one son. Will you give either, and I’ll stay the circumstance: let me your mother another reason to hate me? be satisfied, is’t good or bad? What says he of You were probably too young to remember our marriage? What of that? your brother Colin. Sometimes I try not to think about it. But the harder I try not (Clearly struggling with her decision, to think…the more I do. Sometimes I just Catherine turns to Juliet, holding her by the let it play out in my mind. Like some sort shoulders as she looks into her face. Juliet, of punishment. He loved you very much. understanding Catherine’s misgivings, waits He was going to teach you to play rugby. silently for her answer. Catherine finally I could hear soldiers outside. That wasn’t breaks her silence.) unusual. A little while later your mother got startled, she had some sort of dark CATHERINE premonition. She thought it might be a Have you got leave to go to confession good idea to get the kids into a central today? room. I told her she was over reacting. I was waiting for a commercial. First thing I JULIET heard was the broken glass. Then the gun I have. shot. It was supernatural. I ran to Colin’s room. I saw him standing in the corner CATHERINE frozen. “Don’t move Colin. Everything’ll Then hie you hence to Father’s cell. There be all right.” Just then the room lit up with stays a husband to make you a wife. Go, I’ll flashes. I was grazed by a bullet and Collin to dinner. Hie you to the cell. seemed to fall along the wall. I thought he fainted from seeing me bleed, but then I JULIET saw the back of his head was covered with Thank you, thank you! blood and I knew the flashes had been bullets and that Colin was shot. He was (Juliet exits. Catherine watches her go, then only nine years old…nine years old. stands, deep in thought as the lights fade. The Troubles of Romeo and Juliet 75 Lights fade up on Romeo and the Father at the second cup draws it on the drawer, the church.) when indeed there is no need.

FATHER BENVOLIO So smile the heavens upon this holy act, that Am I like such a fellow? after hours with sorrow chide us not! MERCUTIO ROMEO Come, come, thou art as hot a Jack in thy Amen, amen! But come what sorrow can, do mood as any, and as soon moved to be thou but close our hands with holy words, moody, and as soon moody to be moved. then love-devouring death do what he dare; it is enough I may but call her mine. BENVOLIO And what to? FATHER These violent delights have violent ends and MERCUTIO in their triumph die, like fire and powder, Nay, and there were two such, we should therefore love moderately; long love doth so; have none shortly, for one would kill the too swift arrives as tardy as too slow. other. Thou! why, thou wilt quarrel with a man that hath a hair more, or a hair less, (Juliet enters. She and Romeo kiss in his beard, than thou hast: thou wilt passionately, until the Father separates quarrel with a man for cracking nuts, them.) having no other reason but because thou JULIET hast hazel eyes: what eye but such an eye Good even to my ghostly confessor. would spy out such a quarrel? Thy head is as fun of quarrels as an egg is full of meat, ROMEO and yet thy head hath been beaten as addle Ah, Juliet, if the measure of thy joy be as an egg for quarrelling: thou hast heaped like mine, and that they skill be more quarreled with a man for coughing in the to blazon it, then sweeten with thy breath street, because he hath wakened thy dog this neighbor air. that hath lain asleep in the sun. Didst thou not fall out with a tailor for wearing his JULIET new doublet before Easter? With another They are but beggars that can count their for tying his new shoes with old riband? wealth. But my true love is grown to such And yet thou wilt tutor me from excess I cannot sum up sum of half my quarrelling! wealth. BENVOLIO FATHER And I were so apt to quarrel as thou art, (Moved by the depth of their love) any man should buy the fee-simple of my Come with me, and we will make short work; life for an hour and a quarter. for, by your leaves, you shall not stay alone till holy church incorporate two in one. MERCUTIO The fee-simple! O simple! (Lights fade as they exit. Lights up as Benvolio and Mercutio enter.) BENVOLIO By my head, here comes Tybalt. BENVOLIO I pray thee, good Mercutio, let’s retire: the MERCUTIO day is hot, the Capulets abroad, and, if we By my heel, I care not. meet, we shall not scape a brawl. (Tybalt enters. Drumming is heard.) MERCUTIO Thou art like one of those fellows that when TYBALT he enters the confines of a tavern claps me Gentlemen, good den: a word with one of his sword upon the table and says ‘God send you. me no need of thee!’ and by the operation of 76 Crystal Brian TYBALT MERCUTIO Boy, this shall not excuse the injuries that And but one word with one of us? Couple it thou hast done me. with something; make it a word and a blow. (Tybalt aims guns at Romeo.) TYBALT You shall find me apt enough to that sir, ROMEO and you will give me occasion. (turns and faces Tybalt) I do protest, I never injured thee, but love MERCUTIO thee better than thou canst devise, till thou Could you not take some occasion without shalt know the reason of my love. and so, giving? good Capulet, which name I tender as dearly as my own, be satisfied. TYBALT (Tybalt cocks his gun.) Mercutio, thou consort’st with Romeo— MERCUTIO MERCUTIO O calm, dishonourable, vile submission! Consort! What, dost thou make us minstrels? And thou make minstrels of us, (Mercutio grabs Tybalt’s hand, struggling for look to hear nothing but discords. the gun.)

BENVOLIO TYBALT We talk here in the public haunt of men: What wouldst thou have with me? either withdraw unto some private place, and reason coldly of your grievances, or (The gun drops.) else depart; here all eyes gaze on us. MERCUTIO MERCUTIO Good king of cats, nothing but one of your Men’s eyes were made to look, and let nine lives. them gaze; I will not budge for no man’s pleasure, I. TYBALT I am for you. (Romeo enters.) (Tybalt and Mercutio fight. Mercutio knocks Tybalt to the ground. Pulling out a knife, he TYBALT starts to stab Tybalt. As he draws his arm Well, peace be with you, sir: here comes back, Romeo stops him and the knife falls.) my man. ROMEO MERCUTIO Gentlemen, for shame, forbear this outrage! But I’ll be hanged, sir, if he wear your livery: marry, go before to field, he’ll be (Tybalt quickly jumps to his feet, runs off) your follower; your worship in that sense may call him ‘man.’ MERCUTIO Is he gone, and hath nothing? TYBALT Romeo, the hate I bear thee can afford no (Tybalt returns with a group of hooded men. better term than this. Thou art a villain. They seize Romeo, Benvolio and Mercutio. Forcing Mercutio to his knees, they place a ROMEO hood on his head. Tybalt stands behind Tybalt, the reason that I have to love thee Mercutio and pulls out a gun.) doth much excuse the appertaining rage to such a greeting: villain am I none; MERCUTIO therefore farewell; I see thou know’st me Ask for me tomorrow, and you shall find me not. a grave man. A plague on both your houses! The Troubles of Romeo and Juliet 77 (To Romeo) Why the devil came you just laughed as I calmly stepped off my between us? bike and walked towards him. He fumbled for the door as I buried three shots in his ROMEO chest. As he fell I walked up and let off I thought all for the best. five more in his face. People talk and people die. MERCUTIO A plague on both your houses! They have I don’t see humans anymore. I see us and made worms’ meat of me… them. We kill you or you kill us. It’s as simple as that. (Tybalt shoots Mercutio in the back of the head. He pulls off Mercutio’s hood. Then, (Tybalt crosses to Mercutio. He takes out a still holding the gun, he crosses to Benvolio knife and cuts Mercutio’s throat, while and Romeo, as they struggle on the looking at Romeo. Then he and the other ground. He threatens both with the gun as Provos exit. Romeo crosses to Mercutio’s he speaks.) body and kneels beside him.)

TYBALT ROMEO I remember my first. Everybody does. They This gentleman My very friend, hath got say it’s the best and worst at the same time. his mortal hurt In my behalf.—Tybalt, I was sitting in a pool hall when an that an hour Hath been my kinsman! informant approached me. A local electrician who told me he had spotted a BENVOLIO uniform hanging in one of the houses he (crossing to Mercutio’s body) worked. I wanted to check it out for myself. That gallant spirit hath aspired the clouds, Sure enough, the fuck was working for the Which too untimely here did scorn the Crown and living in my own neighborhood. earth. I got clearance from my superiors almost immediately. Then I started scouting him ROMEO almost every day. I couldn’t believe how This day’s black fate on more days doth cocky he was. Never checked under his car, depend; this but begins the woe others must never changed his routine. He was as good end. as dead. (He searches Mercutio’s body until he finds His execution was set for March 14th, just a gun. Tybalt reenters, butcher knife in two months after my initial conversation in hand.) the pool hall. I was to be driven in on a motorcycle. We were going to park on the BENVOLIO side of the road at the entrance to his street Here comes the furious Tybalt back again. pretending to have a flat tire. When he passed we would follow him up and do the ROMEO deed. After, I was to be brought two blocks Alive, in triumph! And Mercutio slain! over where we would ditch the bike and hop Away to heaven, respective lenity, and in a car that would take me to a safe house fire-eyed fury be my conduct now! until I could be brought across the border. (Hides gun in his jacket.) Now, Tybalt, take the villain back again, Like clockwork he passed us right on time that late thou gavest me; for Mercutio’s with his wife in the passenger seat. He soul is but a little way above our heads, turned left onto his street as he had always staying for thine to keep him company. done. As soon as he pulled into his driveway Either thou, or I, or both, must go with he looked in his rearview mirror and saw us him. pull up. He knew. He forced his wife to the ground as he ran out of the car making a TYBALT dramatic attempt for the house. He kept (advancing on Romeo with knife) skipping around and waving his umbrella at me like he was in a fuckin’ fencing match. I 78 Crystal Brian Thou, wretched boy, that didst consort him here, shalt with him hence. POLICE OFFICER I will be deaf to pleading and excuses. Nor ROMEO tears nor prayers shall purchase out abuses. This shall determine that. Therefore use none. When he’s found, that hour is his last. Bear hence this body and (Romeo pulls the gun from his jacket and attend our will. Mercy but murders, pardoning shoots Tybalt) those that kill.

BENVOLIO (The police officer exits. Lady Capulet, still Romeo, away, be gone! The citizens are kneeling beside Tybalt’s body, looks at the up, and Tybalt slain. Stand not amazed. It crowd. After a moment, she rises, moves will by thy death, if thou art taken. Hence, away from the body and speaks to the people be gone, away! gathered in the street.)

(Romeo stands frozen, in shock.) LADY CAPULET It was January 30, 1972. Bloody Sunday. I BENVOLIO had gotten up early that mornin’, went to Why dost thou stay? mass before joinin’ the marchers. It was a beautiful day, clear and crisp. The crowd was (Romeo exits. A group of men and women in great spirits. Lots of excitement. enter.) Bernadette Devlin and Ivan Cooper rode the MAN lorry drivin’ in front of us as we made our Which way ran he that kill’d Mercutio? way down to Free Derry Corner. We were Tybalt, that murderer, which way ran he? singin’ “We Shall Overcome.” Ivan and the others were talkin’ over the loud speaker. BENVOLIO “Civil rights for all—no more internment There lies that Tybalt. without trial” we shouted. It was an incredible (A police officer of the Royal Ulster feelin’, we were a part of somethin’ powerful. Constabulary enters with Lords Montague We would stop the pain. and Capulet, their wives and family.) As we turned the corner, part of the crowd POLICE OFFICER didn’t want to turn. They kept goin’ down to Where are the vile beginners of this fray? the town center. Ivan jumped down off the lorry to stop ‘em. He yelled at the rest of us LADY CAPULET to follow the lorry and we did. We followed it Tybalt, my cousin! O my brother’s child! down the street to where it stopped at the corner of the Rossville Street Flats. We could POLICE OFFICER hear shootin’ behind us but we thought the Benvolio, who began this bloody fray? soldiers were shootin’ plastic bullets at the crowd who were throwin’ rocks and bottles. LADY CAPULET Bernadette Devlin started shoutin’, “Get He is a kinsman to the Montague. down, they’re shootin’ real bullets.” We ran. Affection makes him false, he will not It was mad. Everyone tryin’ to find shelter, speak true. I beg for justice, which thou behind cars, inside the flats. The soldiers— must give. Romeo slew Tybalt, Romeo the B-Specials—came up the street. They must not live. were shootin’ into the crowd. A boy was hit right on the steps at Fahan Street. He was FATHER screamin’. I could see all the blood on the Romeo slew him, he slew Mercutio. Who steps. So much blood. We were afraid to go to now the price of his dear blood doth owe? him. There was shootin’ all around us. We couldn’t tell where it was comin’ from. Then MONTAGUE the man who’d been crouchin’ down next to Not Romeo he was Mercutio’s friend. His me stood up and pulled out a handkerchief. I fault concludes but what the law should said, “What in God’s name are you doin’? Get end, the life of Tybalt. back down before they shoot us.” He said, The Troubles of Romeo and Juliet 79 “Can’t you hear him cryin’ out there? He’s CATHERINE dyin’. I can’t let him die alone.” And he (sobbing) ducked down and started to run toward the kid He’s dead. Shot in the street. lyin’ on Fahan Street. He took two steps forward before he fell. The soldiers, they shot JULIET him in the head. There was blood all over his (shocked and uncomprehending) face. Me and a couple of others started to Can heaven be so envious? crawl toward him. We could hear the gunshots, but we kept crawlin’. When I got to CATHERINE him, I could see the whole top of his head was Romeo can, though heaven cannot. gone. I knew he was dead. I started screamin’. Whoever would have thought it? Romeo! I couldn’t ‘stop. My nerves had gone. One of the men from the ambulance picked me up. JULIET They took me to hospital. What devil art thou, that dost torment me thus? This torture should be roar’d in That brave man. He was the fourth person dismal hell. Hath Romeo slain himself? Say killed that Sunday in Derry when the Army thou but ‘I,’ and that bare vowel ‘I’ shall started shootin’ into the crowd of marchers. poison more than the death-darting eye of By the time it was over 13 people were dead. cockatrice. I am not I, if there be such an Another died later from his injuries. All I; or those eyes shut, that make thee innocents. I keep rememberin’ the crowd that answer ‘I.’ If he be slain, say ‘I’; or if not, mornin’. So much hope. All gone. no. Brief sounds determine of my weal or woe. (The crowd is still. The lights fade.) CATHERINE I saw the wound, I saw it with mine eyes. ACT TWO Pale, pale as ashes, all bedaub’d in blood. I fainted at the sight. (Lights fade up on Juliet, waiting for Catherine.) JULIET JULIET O, break, my heart! Poor bankrupt, break Come, gentle night, come, loving, black- at once! To prison eyes, ne’er look on brow’d night, give me my Romeo; and, when liberty! Vile earth, to earth resign, end he shall die, take him and cut him out in little motion here. And thou and Romeo press stars, and he will make the face of heaven so one heavy bier! fine that all the world will be in love with night and pay no worship to the garish sun. CATHERINE O, I have bought the mansion of a love, but O Tybalt, Tybalt, the best friend I had! O not possess’d it, and, though I am sold, not courteous Tybalt! Honest gentleman! That yet enjoy’d. So tedious is this day as is the ever I should live to see thee dead! night before some festival to an impatient child that hath new robes and may not wear JULIET them. O, here she comes, and she brings What storm is this that blows so contrary? news; and every tongue that speaks but Is Romeo slaughter’d, and is Tybalt dead? Romeo’s name speaks heavenly eloquence. My dear-loved cousin and my dearer lord? What news? Then, dreadful trumpet, sound the general doom! For who is living, if those two are (Catherine, visibly distraught, doesn’t gone? answer) CATHERINE JULIET Tybalt is gone, and Romeo has fled. Romeo (frightened) that kill’d him, he will be executed. What’s wrong? What in God’s name has happened? 80 Crystal Brian JULIET so many times. I can see ‘em walkin’ along, O God! Did Romeo’s hand shed Tybalt’s laughin’ and talkin’, when the car comes blood? ‘round that corner. He was just a kid, the Provo drivin’ the car. Danny Lennon his CATHERINE name was. They shot him, the British It did, it did. Alas the day, it did! soldiers, because he’d tried to kill an Army officer. They shot him in the head. As he was JULIET dyin’ he kicked down on the gas pedal and O serpent heart, hid with a flowering face! plowed into Anne and the kids. All three of Beautiful tyrant! Fiend angelical! Just ‘em were killed. She was in hospital opposite to what thou justly seem’st. A unconscious for two weeks. Both of her legs damned saint, an honourable villain! Was were broken, and her pelvis. The doctors said ever book containing such vile matter so the brain bruisin’ turned her psychotic. fairly bound? O that deceit should dwell in (She pauses, lost in her thoughts, then such a gorgeous palace! continues) She never saw her children buried. I think CATHERINE that’s why she couldn’t accept their deaths. There’s no trust, no faith, no honesty in I’d find her sittin’ in her kitchen, starin’ out men. These griefs, these woes, these at the garden. She said she could see ‘em sorrows make me old. Shame come to playin’ out there. She locked herself in a Romeo! private world with her dead babies. (Pause) One mornin’ she cut her wrists with an JULIET electric carvin ‘knife. Her boy found her in Blister’d be thy tongue for such a wish! He the kitchen when he came home from school was not born to shame! O, what a beast that day. She was already dyin’—there was was I to chide at him! nothin’ he could do.

CATHERINE Hate killed you, Anne. Now I understand. Will you speak well of him that kill’d your (to Catherine) cousin? Where are my parents?

JULIET CATHERINE (sobbing) Weeping and wailing over Tybalt’s corpse. Shall I speak ill of him that is my husband? Will you go to them? ‘Romeo is condemned,’ to speak that word, Is father, mother, Tybalt, Romeo, Juliet, JULIET all slain, all dead. ‘Romeo is condemned!’ (with terrible resolve) There is no end, no limit, measure, bound, Wash they his wounds with tears. Mine shall in that word’s death; no words can that be spent, when theirs are dry, for Romeo’s woe sound. banishment. I’ll to my wedding-bed and (She collapses in her grief for a few death, not Romeo, take my maidenhead! moments. Then, taking a deep breath to calm herself, she speaks quietly, CATHERINE reflectively) (horrified) When Anne died she left a note. “Forgive It’s a mortal sin! Hie to your chamber. I’ll me—I love you.” She never finished the find Romeo to comfort you. I know well note. I’ve wondered so often how she where he is. Hark ye, your Romeo will be could do that—cut her own wrists. here at night. I’ll to him; he is hid at the When we were growin’ up, she was always Father’s cell. the funny one who kept us goin’, no matter how bad things got. She could JULIET always make me laugh. She and her Colin O, find him! And bid him come to take his were a real love match. Neither one ever last farewell. cared a flip for anyone ‘til they met each (Lights fade. Lights up on Father’s cell where other. She’d had the three kids out that Romeo is hiding. Father enters.) mornin’ shoppin’. I’d done that with her The Troubles of Romeo and Juliet 81

ROMEO FATHER What news? What is my doom? What sorrow Thou fond mad man, hear me but speak a craves acquaintance at my hand that I yet word. know not? ROMEO FATHER O, thou wilt speak again of banishment. Too familiar is my dear son with such sour company. You are sentenced to death. You FATHER must flee. Soujourn in the south. I shall I’ll give thee armour to keep off that signify, from time to time, every good hap to word, adversity’s sweet milk, philosophy, you that chances here. to comfort thee, though thou art banished.

ROMEO ROMEO Banishment! Be merciful, say ‘death;’ for Yet ‘banished’? Hang up philosophy! exile hath more terror in his look, much Unless philosophy can make a Juliet, more than death. Do not say ‘banishment.’ displant a town, it helps not, it prevails not. Talk no more. FATHER Be patient, for the world is broad and wide. FATHER O, then I see that madmen have no ears. ROMEO There is no world away from here, but ROMEO purgatory, torture, hell itself. Hence-banished How should they, when that wise men have is banish’d from the world, and world’s exile no eyes? is death. Then banished is death mis-term’d. Calling death banishment, thou cutt’st my FATHER head off with a golden axe, and smilest upon Let me dispute with thee of thy estate. the stroke that murders me. ROMEO FATHER Thou canst not speak of that thou dost O deadly sin! not feel. Wert thou as young as I, Juliet thy love, ROMEO an hour but married, Tybalt murdered, Heaven is here, where Juliet lives. And every doting like me and like me banished, then cat and dog and little mouse, every unworthy mightst thou speak. thing, live here in heaven and may look on her, but Romeo may not. More validity, more (There is a knock on the door.) honourable state, more courtship lives in carrion-flies than Romeo. They may seize on FATHER the white wonder of dear Juliet’s hand and Good Romeo, hide thyself. steal immortal blessing from her lips, who even in pure and vestal modesty, still blush, as CATHERINE thinking their own kisses sin. But Romeo (offstage) may not, he is banished. Flies may do this, Let me come in. Juliet has sent me. but I from this must fly. They are free men, but I am banished. And say’st thou yet that (Catherine enters) exile is not death? Hadst thou no gun, no sharp-ground knife, no sudden mean of death, ROMEO though ne’er so mean, but ‘banished’ to kill Spakest thou of Juliet? How is it with her? me? ‘Banished’? O father, the damned use Doth she not think me an old murderer, that word in hell. Howlings attend it. How now I have stain’d the childhood of our hast thou the heart, being a divine, a ghostly joy with blood removed but little from her confessor, a sin-absolver, and my friend own? profess’d, to mangle me with that word ‘banished’? 82 Crystal Brian CATHERINE She says nothing, but weeps and weeps. (Romeo stands uncertainly.) And now falls on her bed, and then starts up, and Tybalt calls, and then on Romeo FATHER cries, and then down falls again. (Urgently) It’s late. Go! ROMEO As if that name, shot from the deadly level (Romeo and the Father exchange a long of a gun, did murder her; as that name’s look, then Romeo runs into the street and is cursed hand murder’d her kinsman. O, tell gone. Lights fade on the Father as he stands, me, father, tell me, in what vile part of looking after Romeo and lost in thought.) this anatomy doth my name lodge? Tell me, that I may sack the hateful mansion. (Lights up on Romeo and Juliet in Juliet’s bedroom) FATHER Hold thy desperate hand. Thy wild acts JULIET denote the unreasonable fury of a beast. Wilt thou be gone? It is not yet near day. It Thou hast amazed me! By my holy order, I was the nightingale, and not the lark, that thought thy disposition better temper’d. pierced the fearful hollow of thine ear. Hast thou slain Tybalt? Wilt thou slay Nightly she sings on yon pomegranate-tree. thyself? And stay thy lady too that lives in Believe me, love, it was the nightingale. thee, by doing damned hate upon thyself? What, rouse thee, man! Thy Juliet is alive, ROMEO for whose dear sake thou wast but lately It was the lark, the herald of the morn, no dead. There art thou happy. Tybalt would nightingale. Look, love, what envious streaks kill thee, but thou slew’st Tybalt. There are do lace the severing clouds in yonder east. thou happy too. Go, get thee to thy love, Night’s candles are burnt out, and jocund day as was decreed. Ascend her chamber hence stands tiptoe on the misty mountain tops. I and comfort her. But look thou stay not must be gone and live, or stay and die. till the watch be set, for then thou canst not pass to Killarney where thou shalt live, JULIET till we can find a time to call thee back Yon light is not day-light, I know it, I. It is with twenty hundred thousand times more some meteor that the sun exhales, to be to joy than thou went’st forth in thee this night a torch-bearer, and light thee lamentation. on thy way to Killarney. Therefore stay yet. (to Catherine) Thou need’st not to be gone. Go before. Commend me to Juliet; and bid her hasten all the house to bed, which ROMEO heavy sorrow makes them apt unto.Romeo (Flinging his jacket down, he sweeps Juliet is coming. up in his arms and falls onto the bed with her.) CATHERINE Let me be taken, let me be put to death. I am O Father, I could have stay’d here all the content, so thou wilt have it so. No, that is night to hear good counsel. O, what not the lark, whose notes do beat the vaulty learning is! I’ll tell Juliet you will come. heaven so high above our heads. I have more (gives Romeo a ring) care to stay than will to go. Come, death, and Here, a ring she bid me give you. Make welcome! Juliet wills it so. How is’t, my soul? haste, for it grows very late. Let’s talk. It is not day.

(Catherine exits.) (For a moment Juliet lets herself be lost in the moment as Romeo kisses her. Then she FATHER frantically pushes him away.) Go hence. Good night. And here stands all your state. Either be gone before the watch JULIET be set, or by the break of day disguised It is, it is! Hie hence, be gone, away! It is the from hence. lark that sings so out of tune, straining harsh The Troubles of Romeo and Juliet 83 discords and unpleasing sharps. Some say the the bottom of a tomb. Either my eyesight lark makes sweet division. This doth not so, fails, or thou look’st pale. for she divideth us. Some say the lark and loathed toad change eyes. O, now I would ROMEO they had changed voices too! Since arm from And trust me, love, in my eye so do you. arm that voice doth us affray, hunting thee Good-bye. hence with hunt’s-up to the day. O, now be gone. More light and light it grows. (Romeo leaves.)

ROMEO LADY CAPULET More light and light. More dark and dark our (Offstage) woes! Daughter! Are you up?

CATHERINE JULIET (offstage) My mother! Is she not down so late, or up Juliet! so early? What unaccustom’d cause procures her hither? (Catherine enters.) (Juliet quickly covers herself in the bed as CATHERINE her mother enters.) Your mother is coming to your room. The day is broke. Be wary, look about. LADY CAPULET (She exits.) Why, how now, Juliet!

JULIET JULIET Then, window, let day in, and let life out. Mother, I am not well.

ROMEO LADY CAPULET One kiss and I’ll descend. Evermore weeping for your cousin’s death? What, wilt thou wash him from his grave (Romeo kisses Juliet. She holds onto him in with tears? And if thou couldst, thou desperation. After a moment, he pulls himself couldst not make him live. Therefore, free and climbs out the window.) have done. Some grief shows much of love. JULIET But much of grief shows still some want of (Speaking from window to Romeo in street.) wit. Art thou gone so? Love, lord, husband, friend! I must hear from thee every day in JULIET the hour, for in a minute there are many Yet let me weep for such a feeling loss. days. O, by this count I shall be much in years ere I again behold my Romeo! LADY CAPULET Well, girl, thou weep’st not so much for his ROMEO death, as that the villain lives which Farewell! I will omit no opportunity that slaughter’d him. may convey my greetings, love, to thee. JULIET JULIET What villain madam? O think’st thou we shall ever meet again? LADY CAPULET ROMEO That same villain, Romeo. I doubt it not. And all these woes shall serve for sweet discourses in our time to come. JULIET Ay, madam, from the reach of these my JULIET hands would none but I might venge my O God, I have an ill-divining soul! Methinks I cousin’s death! see thee, now thou art below, as one dead in 84 Crystal Brian LADY CAPULET We will have vengeance for it, fear thou (Capulet and Catherine enter.) not. He shall soon keep Tybalt company. And then, I hope, thou wilt be satisfied. CAPULET When the sun sets, the air doth drizzle dew. JULIET But for the sunset of my brother’s son it rains Indeed, I never shall be satisfied with downright. How now, wife! Have you Romeo, till I behold him—dead—is my deliver’d to her our decree? poor heart for a kinsman vex’d. O, how my heart abhors to hear him named, and LADY CAPULET cannot come to him. To wreak the love I Ay, sir. But she will none. She gives you bore my cousin upon his body that thanks. I would the fool were married to her slaughter’d him! grave!

LADY CAPULET CAPULET But now I’ll tell thee joyful tidings, girl. Soft! Take me with you, take me with you, wife. How will she none? Doth she not give JULIET us thanks? Is she not proud? Doth she not And joy comes well in such a needy time. count her blest, unworthy as she is, that we What are they, I beseech your ladyship? have wrought so worthy a gentleman to be her bridegroom? LADY CAPULET Well, well, thou hast a careful father, child. JULIET One who, to put thee from thy heaviness, Not proud, you have, but thankful that you hath sorted out a sudden day of joy, that have. Proud can I never be of what I hate. thou expect’st not nor I look’d not for. But thankful even for hate, that is meant love. JULIET Madam, in happy time, what day is that? CAPULET How now, how now, chop-logic! What is this? LADY CAPULET ‘Proud,’ and ‘I thank you,’ and ‘I thank you Marry, my child, early next Thursday not.’ And yet ‘not proud.’ Mistress minion, morn, the gallant, young and noble you, thank me no thankings, nor, proud me gentleman, no prouds, but fettle your fine joints ‘gainst Paris, at Saint Peter’s Church, shall Thursday next, to go with Paris to Saint happily make thee there a joyful bride. Peter’s Church, or I will drag thee on a hurdle thither. JULIET (shocked) LADY CAPULET Now, by Saint Peter’s Church and Peter What, are you mad? too, he shall not make me there a joyful bride. JULIET I wonder at this haste, that I must wed ere Good father, I beseech you on my knees, hear he, that should be husband, comes to woo. me with patience but to speak a word. I pray you, tell my lord and father, madam, I will not marry yet. And, when I CAPULET do, I swear, It shall be Romeo, whom you Hang thee, young baggage! Disobedient know I hate, rather than Paris. These are wretch! I tell thee what. Get thee to church news indeed! on Thursday, or never after look me in the face! Speak not, reply not, do not answer me.

LADY CAPULET (taken aback by Juliet’s rebellious tone) CATHERINE Here comes your father; tell him so God in heaven bless her! You are to blame to yourself, and see how he will take it at rate her so. your hands. The Troubles of Romeo and Juliet 85 CAPULET ‘twere as good he were, as living here and O, God you no use of him. It wasn’t meant to be. You must forget. You have to accept the LADY CAPULET world you’re livin’ in. You are too hot. JULIET CAPULET Speakest thou from thy heart? God’s bread! It makes me mad. Day, night, hour, tide, time, work, play, alone, in CATHERINE company, still my care hath been to have her And from my soul too or else beshrew match’d! As you will not wed, I’ll pardon them both. you. Graze where you will, you shall not house with me. Look to it, think on it, I do JULIET not use to jest. Thursday is near. Lay hand on Amen! heart, advise. And you be mine, I’ll give you to my friend. And you be not, hang, beg, CATHERINE starve, die in the streets, for, by my soul, I’ll What? ne’er acknowledge thee, nor what is mine shall never do thee good. Trust to it, bethink JULIET you. I’ll not be forsworn! Well, thou hast comforted me marvelous much. Go in and tell my mother I am gone, (Capulet exits.) having displeased my father, to make confession and to be absolved. JULIET (to her mother, desperately) CATHERINE Is there no pity sitting in the clouds that sees (greatly relieved, embraces Juliet) into the bottom of my grief? O, sweet my I will. This is wisely done. mother, cast me not away! Delay this (Catherine exits.) marriage for a month, a week. Or, if you do not, make the bridal bed in that JULIET dim monument where Tybalt lies. (furiously) Ancient damnation! O most wicked fiend! LADY CAPULET ‘Accept the world I’m livin’ in’? Talk not to me, for I’ll not speak a word. Do (after a moment; with great resolution) as thou wilt, for I have done with thee. Go, counselor. Thou and my bosom henceforth shall be twain. I’ll to the (Lady Capulet exits.) Father, to know his remedy. If all else fail, myself have power to die. JULIET (She exits.) (To Catherine) O God! How shall this be prevented? Comfort me, counsel me. (Lights up on church as Father and Paris (Catherine doesn’t answer.) enter.) What say’st thou? Hast thou not a word of FATHER joy? Some comfort? On Thursday, son? The time is very short.

CATHERINE PARIS (Pause. Quietly.) My father Capulet will have it so. And I Faith, here it is. Romeo is gone. And all the am nothing slow to slack his haste. world to nothing that he dares ne’er come back to challenge you. Or, if he do, it needs must be by stealth. Then, since the case so FATHER stands as now it doth, I think it best you You say you do not know the lady’s mind. married with Paris. He’s one of our own, Uneven is the course, I like it not. Juliet. You will be happy in this second (He sees Juliet approaching) match. It’s for the best. Your first is dead. Or 86 Crystal Brian Look, sir, here comes the lady towards my cell. PARIS Thy face is mine, and thou hast slander’d it. (Juliet enters.) PARIS JULIET Happily met, my lady and my wife! It may be so, for it is not mine own. Are you at leisure, holy father, now? Or shall I come JULIET to you at evening mass? That may be, sir, when I may be a wife. FATHER PARIS My leisure serves me, pensive daughter, now. That may be must be, love, on Thursday My lord, we must entreat the time alone. next. PARIS JULIET God shield I should disturb devotion! Juliet, What must be shall be. on Thursday early will I rouse you. Till then, adieu, and keep this holy kiss. FATHER That’s a certain text. (Paris kisses Juliet, then exits.)

PARIS JULIET Come you to make confession to this O shut the door! And when thou hast done so, father? come weep with me, past hope, past cure, past help! JULIET To answer that, I should confess to you. FATHER Ah, Juliet, I already know thy grief. It strains PARIS me past the compass of my wits. Do not deny to him that you love me. JULIET JULIET Tell me not, friar, that thou hear’st of this. I will confess to you that I love him. Unless thou tell me how I may prevent it. God join’d my heart and Romeo’s, thou our PARIS hands. And ere this hand, by thee to Romeo So will you, I am sure, that you love me. sealed shall be the label to another deed, or my true heart with treacherous revolt turn to JULIET another, this shall slay them both. Therefore, If I do so, it will be of more price being out of thy long-experienced time give me spoke behind your back than to your face. some present counsel, or, behold, ‘twixt my extremes and me this bloody knife shall play PARIS the umpire. Be not so long to speak. I long to Poor soul, thy face is much abused with die if what thou speak’st speak not of tears. remedy.

JULIET FATHER The tears have got small victory by that, Hold, daughter. I do spy a kind of hope which for it was bad enough before their spite. craves as desperate an execution as that is desperate which we would prevent. If, rather PARIS than to marry Paris, thou hast the strength Thou wrong’st it more than tears with that of will to slay thyself, then is it likely thou report. wilt undertake athing like death to chide away this shame that copest with death himself to JULIET scape from it. And, if thou darest, I’ll give That is no slander, sir, which is a truth. thee remedy. And what I spoke, I spoke it to my face. The Troubles of Romeo and Juliet 87 JULIET have need of many orisons to move the O, bid me leap, rather than marry Paris, from heavens to smile upon my state, which, off the battlements of yonder tower. Or shut well thou know’st, is cross, and full of sin. me nightly in a charnel-house, o’er-cover’d (Juliet and Catherine embrace and quite with dead men’s rattling bones, with Catherine exits. Juliet sinks down on her reeky shanks and yellow chapless skulls. Or bed and pulls out the vial from the priest.) bid me go into a new-made grave and hide me What have we done, my love? What a with a dead man in his shroud, things that, to whirlwind of troubles we’ve unleashed. hear them told, have made me tremble, and I Where will it end? will do it without fear or doubt, to live an (She stares at the vial, lost in thought.) unstain’d wife to my sweet love. August 10, 1976. She was drivin’ down Divas Street in Belfast that sunny FATHER afternoon, Her two children were in the Hold, then. Go home, be merry, give consent back seat. When she heard the rifle fire, to marry Paris. Wednesday is to-morrow. To- she pulled to the side. It was a familiar morrow night look that thou lie alone. Take sound. She could identify the guns. Her thou this vial, being then in bed, and this first instinct was to protect her children. distilled liquor drink thou off. When In the next instant the car in front of her presently through all thy veins shall run a careened out of control, the young cold and drowsy humour for no pulse shall Republican, Danny Lennon, shot by British keep his native progress, but surcease. No soldiers. As he died, his foot pressed down warmth, no breath, shall testify thou livest. on the accelerator. He drove straight into The roses in thy lips and cheeks shall fade to that young mother and her three children. paly ashes, thy eyes’ windows fall, like death, Betty stopped her car. She ran to the spot when he shuts up the day of life. And in this where the children lay. Two of them, little borrow’d likeness of shrunk death thou shalt John and six-week-old Andrew, were continue two and forty hours, and then awake already dead. She knelt beside eight-year- as from a pleasant sleep. Now, when the old Jo Anne—she held her to her body, bridegroom in the morning comes to rouse tryin’ to comfort, as the little girl thee from thy bed, there art thou dead. Then, screamed, terrified, in agony. She was a as the manner of our country is, in thy best beautiful child, with that Irish, red/gold robes thou shalt be borne to that same hair, curly, glorious. Thick strands were ancient vault where all the kindred of the wrapped around the steerin’ wheel of the Capulets lie. I will watch thy waking, and that IRA volunteer’s car. The child had been very night shall I bear thee hence to Romeo. scalped. Betty knelt there in the street, And this shall free thee from this present holdin’ that dyin’ babe and she made a shame, if no inconstant toy nor womanish promise to that little girl to do everythin’ fear abate thy valour in the acting it. in her power to stop the killin’ of the innocents. She was so angry on that day. JULIET Filled with the rage of that terrible week. Give me, give me! O, tell not me of fear! Hopin’ her screams could stop the insanity. (Juliet lifts the bottle.) FATHER Love. If it isn’t enough, then nothing is. Hold. Get you gone, be strong and prosperous Romeo, I come. This do I drink to thee. in this resolve. (She drinks. After a moment, she slumps over. Lights fade. Music plays.) JULIET Love give me strength! And strength shall (Lights fade up on Juliet’s room. Catherine help afford. Farewell, dear father! enters.) (Lights fade as Juliet exits. Lights up on CATHERINE Juliet, alone in her room. Catherine enters Juliet…Juliet? with wedding gown.) (She shakes Juliet on the bed, increasingly JULIET panicked.) Ay, those attires are best. But, sweet friend, I Oh my god, Juliet, Juliet… pray thee, leave me to myself to-night, for I (crying) 88 Crystal Brian Oh, my sweet girl. No…no…No more (Lights fade up on Romeo, as Balthasar death. Oh, my sweet child… enters.) (She kneels by the bed, cradling Juliet’s body during the following.) ROMEO How doth my lady? Is my father well? How It was the winter of 1972 when I lost me fares my Juliet? That I ask again, for nothing boy. Tommy didn’t get involved in this can be ill, if she be well. crap. His father died of cancer when he was only three years old, leaving me and BALTHASAR Tommy alone. I did what I had to do to O, pardon me for bringing these ill news, put food on the table and it broke my little since you did leave it for my office. boy’s heart. As soon as Tommy was strong (Pause) enough to put a sack on his shoulder, he She’s dead. dropped out of school and began working (Romeo doesn’t respond) full time. I begged him not to. But he I saw her laid low in her kindred’s fault. wouldn’t hear of it. Just like his father he was. Stubborn, brave. Right around the turn ROMEO of the decade money got real tight and the (After a moment) shipping dock laid him off, said they didn’t Is it even so? (Pause) Then I defy you, stars! want no Catholics working there. Working? Nobody wanted us living, let BALTHASAR alone working. We lost our home. So I do beseech you, have patience. Your looks Tommy joined the Royal Army. They were are pale and wild, and do import some offering good honest work for a young a misadventure. man. He saved up and bought me a house in Dublin. He even got them to transfer him ROMEO to compassionate grounds in Northern (with great effort, controlling his emotions) Ireland so he could come see me every Thou art deceived. Leave me. Do the thing I weekend. Tommy could have had any girl bid you do. he wanted. He was a beautiful boy. But he (Balthasar hesitates) didn’t care. He just worked and worked and Get thee gone. I’ll be with thee straight. when he wasn’t working he came down to visit his poor mother. He didn’t deserve (Balthasar exits.) this. He was fucking Catholic for Christ sakes. They’re killin their own people. He ROMEO looked so handsome when he got out of Juliet, I will lie with thee tonight. the car in his uniform. I told him not to wear it when he came to visit me. But he (Lights fade. Musical bridge. Lights fade up was so proud. He had such a warm smile. on Romeo, at crypt, motionless. Paris enters.) And his eyes. His eyes could make his mother melt, he was such sweet boy. They PARIS jumped out of the car behind him. Tommy This is that haughty Montague that murdered didn’t run. He just kept saying, “I’m my love’s cousin. What villainous shame does Catholic. I’m Catholic. I’m Catholic.” he intend now? They threw my boy to the ground. They (Paris moves toward Romeo) covered his face. His beautiful face. “I’m Condemned villain, I do apprehend thee. Catholic”. I was screaming for them to Obey, and go with me, for thou must die. stop. “Don’t cry mother” Tommy says “It’s gonna be ok” “It’s gonna be ok. I’m ROMEO Catholic.” Then one of ‘em grabbed him I must indeed, and therefore came I hither. I up on his knees. And another put a gun to beseech thee, put not another sin upon my the back of my baby’s head. “It’s gonna be head by urging me to fury. Be gone! Stay not. ok mother… don’t cry”. Live, and hereafter say a madman’s mercy bade thee run away. (She sobs, holding Juliet, as lights fade.) The Troubles of Romeo and Juliet 89 PARIS Oh, my love! My wife! Death that hath I do defy thy conjurations, and apprehend sucked the honey of thy breath hath had thee for a felon here. no power yet upon thy beauty. Thou are not conquered. (Paris draws his gun.) (He touches her face and picks up her hand, kissing the palm.) ROMEO Juliet, what were we thinking? We never Wilt thou provoke me? Then have at thee, had a chance. It wasn’t my fault. I don’t boy! control these feelings. They control me. But I’m going to do the right thing. (Romeo chokes Paris.) There’s a lot of bad out there, and I feel it in me. I feel it in my veins and it’s taking PARIS me over. I don’t want to pass it on to If thou be merciful, lay me with Juliet. somebody else. I want it to end, right here…right now. (As Paris dies, Balthasar enters, then stops, (looking at Juliet) shocked at the site of Romeo standing over Eyes look your last. the body of Paris.) (He holds her) Arms, take your last embrace. And lips, the ROMEO doors of breath, seal with a righteous kiss a (to Balthasar) dateless bargain to engrossing death. Upon thy life I charge thee, whate’er thou (He kisses her.) hear’st or seest, stand all aloof and do not Here’s to my love. interrupt me in my course. If thou, jealous, (He puts the gun to his temple, then takes dost return to pry in what I further intend to it down and looks at Juliet.) do, by heaven, I will tear thee joint by joint (Composing himself) and strew this hungry churchyard with thy I said a prayer for us yesterday. limbs. The time and my intents are savage- (He puts the gun to his temple) wild, more fierce and unrelenting than empty God knows who was listening. tigers or the roaring sea. (he shoots himself)

BALTHASAR (Juliet wakes with the gunshot. Seeing I will be gone and not trouble you. Romeo’s body, she begins to scream.)

ROMEO Juliet So shalt thou show me friendship. (screaming) No….no….God, no……… BALTHASAR (After a moment, she finds the knife.) (pretends to leave, then conceals himself near I love you. tomb) (She plunges knife into her chest, For all the same, I’ll hide me hereabout. His collapsing on top of Romeo.) looks I fear and his intents I doubt. (Silence. Then the Father enters. He takes ROMEO in the scene—Romeo and Juliet dead. A (with Paris’ body) pause.) Let me peruse this face. Mercutio’s kinsman, Paris. Oh, give me thy hand, one writ with FATHER me in sour misfortune’s book. I’ll bury thee I remember Johnny Bingham’s funeral on in a triumphant grave. that cold, gray, February mornin’. The (He drags Paris into the tomb, then stops, Bishop of Down and Dromore, Robin frozen, at the sight of Juliet’s body. Eames, conducted the service. He was to He moves from her to Tybalt. For a moment have married Johnny and his bride two he absorbs the horror of it all, weeks later. I was so angry that mornin’. then returns to Juliet.) Such a senseless killin’. Only cowards would do such a thing. Johnny joined the RUC for steady work. He wanted to get 90 Crystal Brian married, to start a family. He wasn’t a We demand justice. political person. Just a decent young man We hate because we’re hated. wantin’ what every man wants. He was on We kill because we’ve been killed. routine patrol that day when his car We want our rights. We want retribution. tripped a hidden line connected to a No peace without justice. thousand pound land mine. Johnny and his But if justice must be bought with blood… partner were killed instantly. (He pauses, overwhelmed with sadness) (he pauses, remembering) Too many children have died. Too much life The church that mornin’ was filled with wasted—a mother’s labor spurned. clergy. Protestants, Catholics, all of us sick Bobby Sands said, “Our best revenge will be of the killin’. I’ll never forget the words our children’s laughter.” When will we stop Robin Eames spoke: “Violence judges those infectin’ children with our poison? We’re who practice it. Violence judges those who destroyin’ our only hope. react to it. Violence judges those who (speaking to the crowd at the tomb and to accept it as inevitable…. “ the audience) (Pause) A gloomin’ peace this mornin’ with it brings. My God, what have I done. The sun, for sorrow, will not show his head. Go hence, to have more talk of these sad (The crowd arrives at the tomb.) things. For never was a story of more woe CAPULET Than this of Juliet and her Romeo. What should it be, that they so shriek abroad? (As lights fade and music plays, cast members, one by one, begin a litany of LADY CAPULET places in the world where religious and The people in the street cry Romeo, some sectarian violence have destroyed life. Juliet, and some Paris. And all run with Belfast, Columbine, Chechnya, Iraq, Israel, open outcry toward our monument. Palestine, Kenya, Libya, New York City…and on.) CAPULET Oh heavens, wife, look how our daughter bleeds!

FATHER (to Montague) Come, Montague, for thou art early up to see thy son and heir more early down.

MONTAGUE Alas, Father, my wife is dead tonight. Grief of my son’s exile hath stopped her breath. What further woe conspires against mine age?

FATHER Look and thou shalt see.

MONTAGUE Oh thou untaught! What manners is in Romeo mourns for Juliet this? To press before thy father to a Editor’s Note: This script does not retain the original line grave? breakdowns of Shakespeare’s text. The changes were made to facilitate a clean layout for the contribution. PLEASE FATHER NOTE: Any parties interested in producing a staged version of this script must obtain the permission of the author. The (with great pain) author may be contacted through this publication. What a whirlwind we reap.