\nIn addition to this juxtaposition of eras, Goold employs a fascinating recurring theme: fire. Taking his cue from the Bard’s numerous references to the heat and brevity of amorous passions, flames are everywhere, from Scutt’s sun-flecked masks for the ball scenes to Lorna Heavey’s blazing videos and projections to Howard Harrison’s fiery lighting. Torches are used as weapons during fight director Terry King’s pulse-pounding battles between the Montagues and the Capulets.<\/strong> The jittery Mercutio plays with matches, and before confronting her daughter Lady Capulet nervously lights a cigarette.\n<\/p><\/blockquote>\nI have never used live fire in a show, mostly due to fire regulations of the building or the municipality. When I was working with Forward Theatre, we had tentative plans to mount a show with a lot of darkness, including rapier and cloak fights, and most excitingly rapier and lantern. We didn’t get an opportunity to mount that play, but I often think about it.<\/p>\n","protected":false},"excerpt":{"rendered":"
The Royal Shakespeare Company does not disappoint. Here is an excerpt from David Sheward’s review on Backstage.com In addition to this juxtaposition of eras, Goold employs a fascinating recurring theme: fire. Taking his cue from the Bard’s numerous references to the heat and brevity of amorous passions, flames are everywhere, from Scutt’s sun-flecked masks for […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17],"tags":[28],"class_list":["post-3136","post","type-post","status-publish","format-standard","hentry","category-stage-combat-2","tag-stage-combat-3"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t