Photo: Angelo Sgambati

atyp is exclusively devoted to young people. We are driven by the idea that the arts can inspire

creative, courageous and confident young people wherever they are and whatever they want to be.

We believe that the arts have the power to transform lives, enrich communities and ultimately impact

upon the future of our nation. Our work is motivated by the need to improve access for all young

Australians to share their stories and participate in the arts regardless of economic or geographical

barriers.

Our Vision: to be the leading Australian youth theatre company, inspiring and nurturing imagination,

confidence and creativity in young people across the country.

At the heart of our company lies collaboration between professional artists and young people. Working

together we create inspiring theatre that engages with contemporary social issues and provides a

space for young people to celebrate their creativity and Rise Up and Act!

Above all, atyp inspires young people to make great theatre.

Cursed Hearts

atyp

July - August 2011

Education Resource

Teacher's Resource Kit

This Resource Kit has been designed as a classroom tool to assist with the preparation,

evaluation and analysis of the Australian Theatre for Young People (atyp) production,

Cursed Hearts.

The notes and activities have been divided into three components:

Before you see Cursed Hearts

The Performance: Behind the scenes of Cursed Hearts

After you see Cursed Hearts

NSW BOS Syllabi have been used as a guide for this resource kit. It is recommended

before using the suggested websites in this kit that teachers first visit the sites to assess

suitability of content for your particular school setting.

We hope you find these activities useful and that they enhance your creative arts

experiences in the classroom.

Heather Clark

Education and Outreach Manager

Australian Theatre for Young People

Before you see Cursed Hearts

From Classical to Contemporary: Prokofiev’s Romeo and Juliet

What to Expect

The Performance: Behind the Scenes of Cursed Hearts

The atyp creative team & cast

Interview with the director: Danielle O’Keefe

Interview with the choreographer: Belinda Scanlan

Interviews with the cast

Get Involved!

After you see Cursed Hearts

First Impressions

Design Elements

The Elements of Drama

Write your own Review

Design + Budget = Creativity

Playing with Space

Introduction

Table of

Contents

From Classical to Contemporary: Prokofiev’s Romeo & Juliet

Cursed Hearts draws upon a variety of interpretations of the Shakespearean play,

Romeo and Juliet, whilst adding a distinct post-modern flair. The pastiche of styles is

most obviously reflected in the continual soundtrack. In preparation for seeing the

performance it’s advisable to familiarise yourself with the music and ballet of Sergei

Prokofiev.

Born April 27, 1891 in Sontsovka, Ukraine, Sergei Prokofiev’s life spanned the most

tumultuous time of modern Russian history. Although he left Eastern Europe in the

early part of his career, he ultimately returned to Russia where the length of his

musical compositions was more readily accepted than in the West.

Romeo and Juliet premiered in 1940 for the Kirov Theater. Although a difficult ballet

to choreograph, it has been popular across the world since its first performance.

Prokofiev died on March 5, 1953 at a time of cultural repression in the Eastern bloc

and Cold War tension.

Before you see

Cursed Hearts

PRACTICAL TASK:

Watch this clip of the Royal Ballet Sinfonia performing Prokofiev’s

Romeo and Juliet.

(Tamara Rojo, Carlos Acosta; Kenneth MacMillan choreography; Royal

Ballet Sinfonia; Leader: Robert Gibbs; Conductor: Boris Gruzin)

http://www.youtube.com/watch?v=r7XTtQE3rHI

For the orchestral music Prokofiev: Romeo and Juliet, No. 13 Dance

of the Knights (Valery Gergiev) by the London Symphony Orchestra,

follow the link:

http://www.youtube.com/watch?v=Z_hOR50u7ek

After viewing the clips, form groups to discuss the following questions

and record your answers to share with the class:

1. How would you describe the world that is created in this ballet

performance?

2. What do the costumes say about the characters?

3. How does the choreography reflect the personalities of different

characters?

4. Describe the music using metaphorical images. There are three

distinct styles of music in this clip – use a different metaphor for

each.

5. What is your impression of Juliet and Romeo?

6. This is the “party” scene. What type of party is it? Does it match

your expectation of what the party should be like? How does it

differ?

Classroom Activity

What to expect ...

Our cast members rehearse two evenings a week and Sundays. They are generally

under 26 and some of them are school students. Our designers are professionals who

are generally at the beginning of their design career. As such, they are innovative,

unconventional and excitingly creative.

Classroom Activity Have a look at the pictures below of the fittings and

designs for the costumes.

BRAINSTORM:

Without spending too long thinking about your answer,

record the first 10 words that spring to your mind when you

look at the photos?

_____________________________________________________________

_____________________________________________________________

_____________________________________________________________

_____________________________________________________________

PRACTICAL TASK:

Form groups of five.

Combine your word lists. Look at common themes and

words. Shortlist your combined list to 10 words.

Create a tableau (still image) inspired by your words. You

may be as abstract as you like.

Have each member of the tableau either say a sound or

word from the list. The idea is to layer the sounds. Words

may be repeated, drawn out in length, sung etc.

You may like to include movement within the tableau – but

keep it limited to the tableau space.

REFLECTION:

What are your expectations for the performance? What

will you specifically look for (e.g. acting, design, sound,

blocking)?

Photos by Adrienn Lord

Creative Team

atyp Artistic Director Fraser Corfield

Director Danielle O’Keefe

Choreographer Belinda Scanlan

Costume Designer Adrienn Lord

Assistant Costume Chloe Hartcher

Production Mgr Liam Kennedy

AV Designer Trevor Wills

Set Designer Marc Barold

SX Design Tom Brennen

SX Design Zacchary Wiffen

LX Design Ben Cisterne

Administrator Drew De Mullich

Cast

Leads Christina Paterno

Alfie Gledhill

Peter Aoun

Alya Drobot

Mikhail Ushakoff

Rebecca Quinn

Chorus Isaac Bradley

Emma Brawley

Scott Bolas

Joanna Griffiths

Tehani Vicario

Emily Potts

Georgia Sekulla

Pollyanna Nowicki

Andrea Cabello

Blaine Horne

Molly Haddon

Ashlee Harpur

Elizabeth Pallas

Melanie Priest

Rachel Smuin

Sarah McCoy

Madison Cameron

The Performance

Behind the Scenes of

Cursed Hearts

Interview with the Director

Danielle O’Keefe - Director

Cursed Hearts is unique in its conception and rehearsal. Tell

me about the process of getting this performance together?

Where did you start and how did you create the show?

6 years ago Bin (Belinda Scanlan) and I started looking at

ways we could work with youth who are trained in classical

forms. We started with an idea and lots of questions. How can

we showcase skills that are so often worked intensely in

private studios and rehearsal rooms? Classical training for a

young voice happens behind closed doors for hours on end. I

wanted to work with a dedicated group of young performers

that are on a path to developing a professional career.

Belinda and I broke the piece down into moments. There are

31 moments needed to tell our version of this story. With the

cast we established questions to start workshopping from

within the framework of each of these moments. I have

wanted each of our performers to own their role and

essentially create their own melodies around given musical

motifs. We worked on an initial layer and then, each time we

went back to play in a moment, a new layer would appear.

Tell me about Cursed Hearts and how it’s different from other productions of Romeo and

Juliet?

The idea of forbidden love has been the inspiration of artists documented back to Greek

mythology in the story of Pyramus and Thisbe. Shakespeare, Gounod, Prokofiev and

Tchaikovsky are four artists we have looked at and borrowed from to tell our version of

Romeo and Juliet.

Cursed Hearts is a collaborative work involving 22 performers and 8 creatives. This is a layered

performance telling a singular story through a multitude of media. We have tried to attach

strings of the old into our new work. The chorus of 16 define our space. There are no seats.

This is an installation. The large cast move in and through a standing crowd. The walls come

alive with sounds and sculpture.

This work layers text, voice, body and

image to find new light. Keep some of the old, mix it with the

new, add improvised voice over an

emotive soundscape and hope for

the best.

The piece is young,

energetic and fast paced. We are

aiming to saturate

the senses.

People will feel the pulse of Romeo and Juliet running through

their veins as the original music composed score fills the room.

The show is

visually

stunning with

sculptural costume

design and a

set that

violently

interrupts the

space.

Belinda Scanlan - Choreographer

Interview with the Choreographer

You work closely together with the

director (Danielle) – what is that like

and how do you make the

collaboration work?

We work well together as we both

have different ideas and we are

both open to each other’s ideas.

We like to get lost in creative thought

and in the world we are trying to

create and then explore ways in

which we can get this across to our

audience. We also like to explore

new ways of telling known stories.

What have been the most challenging aspects of directing/choreographing

Cursed Hearts?

The most challenging part of choreographing Cursed Hearts has been creating a

common language between our 22 cast members and our 8 creative team

members so that we are all on the same page when working on the show. It is

also quite challenging making sure that the story is truly being told through all

mediums we are using; choreography, digital image, direction, soundscape and

vocals.

When did you first realize you wanted

to be a choreographer?

I have always wanted to have

dance in my life but have never

really been exactly sure what form

that would take. I’ve felt like this

since I was 8!

How do you become a choreographer?

To become a choreographer you most

probably have to come from a dance

background yourself, although strictly

speaking, you do not need to be able

to dance to choreograph.

There are 2 dimensions that are

important in choreography. There is the

visual aesthetic of dance that a

choreographer designs using space,

shape and time and there is the

movement that is choreographed

where you have to take into account

the way the movement is going to feel

for the dancer. This is the part that is

intuitive which you can do with more

understanding if you have a dance

background yourself.

Interviews with the cast:

Joanna Griffiths

Which character do you play?

The show as a whole is pretty abstract and not all of

us are given certain characters except the main

story roles (e.g. Romeo and Juliet). I do speak the

lines of Benvolio so I do take on part of his role but

I'm not committed to his character.

This particular play requires a lot of skills from its actors

– theatrical, musical and dance – where did you train

and what elements of your training were most useful

in rehearsing for the show?

I've sung and acted for a while now and because I

enjoy it so much I've experimented and tried different

variations of drama and types of singing. For this

performance improvisation in acting, singing and

movement is really important. We also have to

develop our own character and motives etc, which

affects how we act and react. To be comfortable in

my character and to be flexible in situations is really

important and the skills of improvisation are a great

way to ensure this.

How do you prepare for a

role?

Because we move and sing at

the same time you do have to

warm up. The rehearsals are

important as we build up our

fitness and ability - so we can

keep up the constant physical

characterisation without

turning an embarrassing

shade of lobster. Audience

interaction can be really

challenging so we had to

practise staying in character

while working with an

audience being in close

proximity. This can be really

hard as sometimes we may

feel awkward or want to laugh

but the most important thing is

to stay in character. We used

some pedestrians around the

wharf to help us in this area.

What is it like performing such

an iconic story?

The hardest thing is describing

to people what Cursed Hearts

is about. Romeo and Juliet is

such a classic and traditional

story and Cursed Hearts has

combined it with so much

modern media. It’s exciting

but not what one expects.

Placing this story in a post-

apocalyptic setting really

shakes things up a bit.

What advice would

you give to aspiring

performers?

Try new and

interesting things.

Get out there. Be

brave. The process is

just as rewarding and

fun as the

performance. My

motto is "regret lasts

longer than

embarrassment (and

any other emotion

for that matter)".

And finally, for a fun question, what’s been your

most embarrassing moment on stage?

Probably when I was playing Ariel in the musical

Footloose and I was singing the song "the girl

gets around". If performing that song in front of

my family and grandmother didn't do it, I

probably succeeded when I almost fell off

a barrel halfway through singing and had to turn

my wind-mill-stop-from-falling action into a

groovy dance move. Not so smooth.

Liz Pallas

Which character do you play?

Ensemble member (a part of the Capulet family).

This particular play requires a lot of skills from its

actors – theatrical, musical and dance – where did

you train and what elements of your training were

most useful in rehearsing for the show?

I trained at Charles Sturt University where I completed

my Bachelor of Arts (Acting for Screen and Stage) in

2007. My training was useful in helping develop the

qualities of a character that was trapped in a

dysfunctional, post- apocalyptic world.

How do you prepare for a

role?

I have a think about the

environment my character

finds themselves, and this

assists me to get into a

relevant mindset. This show

requires you to be particularly

fit also, so some physical

training helps too.

What is it like performing such

an iconic story?

I performed this story (in a

more traditional

Shakespearian fashion) during

my second year of university. It

will always be my favourite of

Shakespeare’s works. It has

been interesting to be a part

of this production, as my

experiences with both have

been vastly different and

rewarding.

What advice would you give to aspiring

performers?

This industry can be rough! Keep your hopes

high and don’t give up!

Most embarrassing moment onstage?

I was involved in a production of Little Women, and was

wearing a rather impractical dress. Mid way through a

long speech, all of the press studs came undone and I

had to casually shuffle backstage so that the audience

couldn’t see my backside!

Tehani Vicario

Which character do you play?

I am a part of the ensemble

This particular play requires a lot of skills from its

actors – theatrical, musical and dance – where

did you train and what elements of your

training were most useful in rehearsing for the

show?

I only began my singing training last year as a

part of a fulltime performing arts course. Since

then I have continued private lessons with a

tutor which has helped me immensely -

especially in building confidence. I've been

dancing from a very young age, and I only

moved to Sydney last year to pursue this as a

career.

Acting, I believe, comes naturally and in the

fulltime course we learnt to improvise. This skill

has been an invaluable lesson - not only in this

play but within the whole industry. As the

production is not strongly a "dancing" piece,

I’ve had to challenge myself to focus on the

other aspects of singing and acting.

How do you prepare for a

role?

It takes repetition and

rehearsal. Learning your part

and actually knowing your role

is integral to this production. I

prepare by imagining what it

would be like to live in their

world and I try to create and

envisage this with mental

rehearsals. Then we practice

as a group. Talking everything

through - how and what we

should be feeling at particular

times is also part of the

preparation.

What is it like performing such an iconic

story?

It’s fabulous. A timeless classic; I feel blessed.

What advice would you give

to aspiring performers?

To always be themselves!

Learn what you can from

everyone around you but

always stay focused and true

to yourself.

And finally, for a fun question,

what’s been your most

embarrassing moment on

stage?

Performing a dance routine as

an Oompa Loompa - it was a

good idea at the time.

Christina Paterno

Which character do you play?

Juliet

This particular play requires a lot of skills from its actors –

theatrical, musical and dance – where did you train

and what elements of your training were most useful in

rehearsing for the show?

I trained at the Australian Institute of Music, but I think

that shows, such as this, are the best kind of training.

They require you to really put yourself out there and try

new things that you sometimes wouldn't try when you

become subconsciously complacent in a learning

institution. It's only when you abandon yourself that you

realise how far you can actually go.

Obviously, this is a hybrid work and so it's very different

from any other texts I would normally approach,

however the methods of approach for creating a

character that you learn and practise as part of your

training, came in use to tell this story.

What is it like performing

such an iconic story?

You feel the same duty you

do to any story, which is to

tell it in the best way you

can.

What advice would you give

to aspiring performers?

Get involved with as many

people who share your

passion for performing as

possible - you never know

what can be created when

you surround yourself with like

people!

And finally, for a fun question,

what’s been your most

embarrassing moment on

stage?

I was performing a song from

Mary Poppins and I had the flu

and was positioned standing

on a scaffold quite high and

right in the path of a very

strong spotlight. I had to

remain frozen until it was my

turn to 'come to life' and sing,

so I was trying very hard not to

blink. By the time it was my

turn, my eyes had watered so

much that I had a constant

stream of tears running down

my face and a runny nose-

which I could do nothing

about. As you can imagine,

the audience couldn't

understand why I'd chosen to

play Mary Poppins as a sad

character.

How do you audition for an atyp show?

All atyp auditions are advertised on our website www.atyp.com.au and in our e-

newsletter. Once they are advertised call atyp to book an audition time 02 9270 2400.

atyp’s productions provide students with the opportunity to work alongside

professional directors and creatives in staging a show, providing an opportunity for

them to learn from people who are actively working in the industry.

Get Involved !

Initial reaction

What was your initial reaction to the

performance? What sticks out in your

mind?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

Would you recommend the

performance to a friend? Why / Why

not?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

___________________________

Design Elements Costumes

Describe the costumes. How was

costume used to portray character

and themes? Was the use of costume

successful? Why / Why not?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

___________________________

Lighting

Describe the lighting. How was lighting

used to set the scene and define the

space? Was the use of lighting

successful? Why / Why not?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

___________________________

Set

Describe the set. Marc Barold wanted

to create a set that reflected an

apocalyptic scene. Was this

successful? Why / Why not?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

___________________________

Sound and Music

This play has a continual soundtrack.

How did that affect you as an

audience member?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

___________________________________

After you see

Cursed Hearts

The Elements of Drama Comment on how the performance used the elements of drama:

Tension: Where were the moments of

tension in the overall performance?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

Which moment held the most tension

for you?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

Recreate the tension in the moment as

a tableau.

Focus: How did the director draw the

audience's focus to the action she

most wanted you to see?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

Identify a moment that was really

successful in drawing focus?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

Space

How did the actors use the stage

space? (Mention the use of elastic to

define space).

_____________________________________

_____________________________________

_____________________________________

_____________________________________

What was the most interesting aspect

of the use of space?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

Movement

How was movement used to portray

each character?

_____________________________________

_____________________________________

Symbol

Can you identify any symbols/motifs

used in the production?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

What were the most successful symbols

used?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

Mood / Atmosphere

Describe the mood of the piece.

_____________________________________

_____________________________________

_____________________________________

_____________________________________

What sort of feeling did you have at

the end of the play? Was it different to

the feeling you had at the beginning

of the play? Why/Why not?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

Where were the high points in the

performance?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

How did you feel at the end of the

performance?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

What devices were used to create

mood throughout the performance?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

Draw a mood map of that shows the

emotional journey of the overall show:

Character / Role

Did you think the actors were well cast

for their roles? Why / Why not?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

Identify one character that stood out

in your mind? Why were they so

memorable?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

Actor-Audience Relationship

What was the role of the audience in

the performance?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

How did the characters relate to the

audience?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

The play is a classic story of tragic love.

Did you identify with any of the

characters? Why / Why not?

_____________________________________

_____________________________________

_____________________________________

_____________________________________

Write your own Review A review is an important part of theatre criticism. It gives an account of the

production with the writer's opinion of the success of the performance. Become an

atyp theatre critic! Use the scaffold below to write a review of Cursed Hearts.

Send it to heather@atyp.com.au

We'll publish well written reviews on our website.

How to write a review:

Remember to:

- Paint an accurate picture of the production for someone who has not been

there

- Give a personal opinion about the success of the performance

You may wish to approach your review writing by following these guidelines:

1. State the details of the production, where, when, by who.

2. A synopsis of the overarching plot of the play (without giving away the

ending!)

3. Background of the show and the unique aspects of the production.

4. Information about the style and genre of the piece.

5. Analysis of the mood and atmosphere created by the cast/designers.

6. Analysis of the choices made by the director.

7. Analysis of the performances of the actors.

8. Analysis of set, costume, lighting and design aspects and how these relate

to the themes of the show.

9. Your personal opinion supported by examples to justify your opinion.

10. Recommendation and / or overall rating.

Remember to make it concise and clear.

Try to write your review in 300 words.

We look forward to receiving your reviews!

Design + budget = creativity

“But out of limitations comes creativity.” Debbie Allen

The image of a starving artist in a garret is not something that we’re familiar with these

days. The most well-known creative artists today often come with an entourage of

publicists, diamonds, clothing brands and fans. Whilst creativity is not limited to

financial situation, limitations in resources, time and space can force the artist to

become more creative.

Today, with the emphasis on environmental issues and over-consumption, a number

of artists are turning to responsible creativity. This is, in itself, a limitation which has

resulted in some amazing pieces of art. Follow this link:

http://www.huffingtonpost.com/2010/03/09/junk-art-photos-10-

amazin_n_487050.html#s72375&title=Dave_Hind

In Cursed Hearts, the designers used found objects, inexpensive materials and an

abundance of creativity to construct the set and costumes. We hope that this

inspires you to be creative no matter what the limitation.

Classroom Activity

BRAINSTORM:

Form groups of 3-4.

In your group, brainstorm at least five themes that you observed

in Cursed Hearts.

Share these themes with the class.

Each group select a different theme from the list.

PRACTICAL TASK:

Select one of the following design options: costume, set,

publicity

In groups, create a design based on the theme of your choice.

Discuss the mood you want to invoke in your audience.

Build a design model using found materials/objects. For

example, in Cursed Hearts, the wooden palings were “found”

objects. You may need to look out for council clean-ups or take

a visit to a recycled wares shop (e.g. Reverse Garbage at the

Addison Rd Centre in Marrickville, Sydney).

REFLECTION:

In your Drama journal, discuss the process of building a design

from found objects. What were your expectations of what you

would find? Was the process easy or difficult? Why? What was

surprising about the process?

How did others respond to your design?

Playing with Space

Theatre spaces differ enormously depending on the type of performance, the

budget and the availability of venues. Cursed Hearts uses the open theatre of Studio

1 at atyp and creates pockets of action defined by set and the use of elastic.

Without designated seating, the audience is free to move about at will. The only

constraints are when actors create the area of action through the shaping of large

stretches of elastic.

BRAINSTORM:

As a class, come up with a list of different types of performance

spaces.

Discuss which of these you’ve been to. What did you see there?

What impact did it have on you as an audience?

PRACTICAL TASK

Form groups of four.

Select one of the excerpts from Shakespeare’s Romeo and Juliet

that was used in Cursed Hearts (following page). You may have

any number of characters in the excerpt.

Choose a space within the school (outside, inside or both!) in

which to perform your excerpt. Be creative. Move furniture,

open windows or convert an outdoor setting.

Think carefully about how you want your audience to respond.

Will you be clear about where you want them to sit or will you

be more flexible in the viewing areas?

Perform your excerpt for the class.

REFLECTION:

Answer the following questions in your Drama journal.

Why do you want the audience to be where they are?

What does this add to the overall experience of the

performance?

What would happen if you staged the performance in a

different performance space?

Discuss your reflections with the class.

Classroom Activity

Romeo and Juliet excerpts

MERCUTIO

O, then, I see Queen Mab hath been with you.

She is the fairies’ midwife, and she comes

In shape no bigger than an agate-stone

On the fore-finger of an alderman,

Drawn with a team of little atomies

Athwart men’s noses as they lie asleep;

Her wagon-spokes made of long spiders’ legs,

The cover of the wings of grasshoppers,

The traces of the smallest spider’s web,

The collars of the moonshine’s watery beams,

Her whip of cricket’s bone, the lash of film,

Her wagoner a small grey-coated gnat,

Not so big as a round little worm

Prick’d from the lazy finger of a maid;

I, IV, 53

ROMEO

If I profane with my unworthiest hand

This holy shrine, the gentle fine is this:

My lips, two blushing pilgrims, ready stand

To smooth that rough touch with a tender

kiss.

JULIET

Good pilgrim, you do wrong your hand too

much,

Which mannerly devotion shows in this;

For saints have hands that pilfrims’ hands do

touch,

And palm to palm is holy palmers’ kiss.

I, V, 93

NURSE

Have you got leave to go to shrift today?

JULIET

I have

NURSE

The hie you hence to Friar morpheus’ cell;

There stays a husband to make you a wife:

Now comes the wanton blood up in your cheeks,

They’ll be in scarlet straight at any news.

Hie you to church; I must another way,

To fetch a ladder, by the which you love

Must climb a bird’s next soon when it is dark:

I am the drudge and toil in your delight,

But you shall bear the burden soon at night.

Go; I’ll to dinner: hie you to the cell.

JULIET

Hie to high fortune! Honest nurse, farewell.

II, V, 66

FRIAR

Hold, then; go home, be merry, give consent

To marry Paris: Wednesday is to-morrow:

To-morrow night look that thou lie alone;

Let not thy nurse lie with thee in thy chamber:

Take though this vial, being then in bed,

And this distilled liquor drink thou off;

When presently through all thy veins shall run

A cold and drowsy humour, for no pulse

Shall keep his native progress, but surcease:

No warmth, no breath, shall testify thou livest;

The roses in thy lip and cheeks shall fade

To paly ashes, thy eyes; windows fall,

Like death, when he shuts up the day of life;

V, I, 1

PRINCE

A glooming peace this morning with it brings

The sun, for sorrow, will not show his head:

Go hence, to have more talk of these sad things;

Some shall be pardoned, and some shall be punished:

For never was a story of more woe

Thank this of Juliet and her Romeo.

V, III, 305