Shakespeare centers Romeo and Juliet on the tension of opposing forces, including the obvious dichotomies of life and death, peace and war, and young and old. But Shakespeare also explores the underlying theme of emotional poverty within material wealth. The wealth of the Capulets is apparent in the first act, when the stage is continually decorated, between scenes, for the family banquet. First, before Juliet's initial appearance in version 1.3, long purple tapestries are unfurled from the gallery to cover the cracked marble of the facade, and the bench is given an ornate cushion and the fountain a decorative cover. Before version 1.4, a festive garland is strung across the gallery and additional benches are carried onto the stage. Finally, before the mask begins in 1.5, candelabras with lit candles are brought in to flank the gallery. We see Romeo ruminating alone on the balcony. His first sighting of Juliet is then vividly staged. All the partygoers below, except Juliet, suddenly freeze in their movements, ghostly white masks raised to conceal their faces, and the scene goes dark except for the spotlight on Romeo and Juliet. The grandeur of the Capulet household is faded to relative nonexistence as the sudden love of Romeo and Juliet comes to life. Shakespeare's stopped movement technique is used once again during the masque, again for dramatic effect. After Tybalt's anger at Romeo's intrusion is assuaged - by a slap from Capulet - the scene is once again darkened and the revelers are once again frozen. their faces hidden behind masks. Romeo and Juliet speak to each other for the first time, dancing gracefully in an emotionally charged circle at center stage, Romeo dressed in green velvet and Juliet in splendor...... middle of paper ...... David Kortemeier portrays his earnest but ineffective brother Lawrence with dry humor and a real fondness for Romeo. Shakespeare paces briskly through the final scenes. He emphasizes the speed of events and the multiplication of misfortunes rather than lingering on moments as he had done with the previous sequences. This approach works well to evoke the speed of tragedy, but it robs the play of some of its power. For example, Romeo's final kiss with Juliet is immediately followed, almost comically, by the brother's entrance, long before the tragic nature of the double suicide has had a chance to be fully absorbed. Nonetheless, this production is an effective drama, particularly thanks to the directorial prowess and a host of rich supporting performances. Works Cited: Shakespeare, William. Romeo and Juliet. Ed. Maynard Mack and Robert Bayton. Portsmouth: Heinemann, 1981.