Suddenly, an actor takes an unplanned swing, pulls a real knife, and the ensemble erupts - “Hey! Hey!” they cry, swarming forward to pull the two quarreling performers apart. As a few men mark the swordplay with wooden batons, the other cast members look on placidly. They are getting ready, and they soon launch into a dry run of the show’s first fight scene.
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To make up for the forbidden outside, cinematographer Tim Sidell comes up with inventive ways to shoot the Lyttelton stage as if it is a ballroom (bodies crowd the camera), a dark garden (a huge moon drifts out of focus in the background), and an Italian alleyway raked with sun (characters huddle on a little path behind a plywood wall).įirst, though, the film starts with the full cast, 14 people in rehearsal clothes, sitting together on the prop-strewn stage. There’s hardly a set - one room, the rest simply props - but the movie’s textures are surprisingly luxurious. It was shot in an almost bare theater, which the team turned into the play’s whole world. When the city shut down, the stage production was reimagined as a film, a first for both Godwin and the NT. Originally, Godwin’s modern-dress production was scheduled for London’s National Theatre as a normal part of its normal season. In his fever-dream chamber version, no one ever mentions COVID, but our plague is still there, crowding and compressing every image, setting each event in motion.
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Godwin’s TV adaptation of Shakespeare’s tragedy touches on our current pandemic in the same profound but hidden, offstage way. At a crucial instant late in the play, we’re told a messenger couldn’t enter a quarantined town - so a letter is lost, a plan is lost, a boy is lost, a girl is lost. But according to Godwin, if you look deep enough, you see the plot hinges on disease. Was he still talking about Shakespeare’s horniest teen tragedy? Stabbings and poison are the main dangers in Shakespeare’s story, and the star-crossed Veronese only wear masks when they’re going to a masquerade. In an interview with the Folger Shakespeare Library about his film adaptation of Romeo and Juliet, the director Simon Godwin described the tragedy as a “plague play.” A plague play? I checked the title. Jessie Buckley and Josh O’Connor as the titular horny teens.
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