Michael Bogdanov, RSC, 1986/7

Abstract

The design by Chris Dyer for Michael Bogdanov’s production signalled one of the most striking and challenging attempts to lend the play an overt modernity. Apparently constructed of white marble and chrome, the set was all harsh angles and sharp edges, with a central area of open staircases and landings. This revolving centre piece was backed by constantly changing photographic blow-ups of modern society figures and fragments of modern architecture. The set even incorporated a swimming pool. Every detail was aggressively modern, from policemen on motorcycles wearing sunglasses, to a buzzing intercom for Capulet’s marble desk and to the fashionable Italian-design modern clothing worn by the cast. The fight scene between Mercutio and Tybalt contained the most striking example of the often flippant nature of this drive to establish the play’s modernity. This duel began as a display of machismo and bluff and was only precipitated into genuine anger once Mercutio scratched Tybalt’s sports car — inevitably, a gleaming Alfa Romeo.