ARTSEDGE Games: Romeo & Juliet LARP

ROMEO& A R T S E D G E

G A M E S

P R E S E N T S

JULIET

L I V E - A C T I O N

R O L E

P L A Y

TABLE OF CONTENTS

Introduction

1

Overview

2

Techniques, Rules, Themes, Variations

4

Walkthrough

9

Hacks

16

Characters

17

Facilitator Cheat Sheet

28

INTRODUCTION If you are unfamiliar with Live-Action Role Play, or larp, please read What is Larp?

In this exercise, students will participate in a scene from Romeo & Juliet, watching the action unfold from different angles and through different critical lenses. The aim is to reveal the perfect craftsmanship of Shakespeare’s writing to students, to get them to understand how beautiful Act I, Scene V is and how it sets the stage for all the events that follow. Students will also walk away with a sense of how Shakespeare focuses the action into the hands of a few characters.

By physically embodying characters from Romeo & Juliet, students will explore the choices of several characters and learn what drives each one. They will also learn that no element in Shakespeare’s drama is accidental. The plot of Romeo & Juliet is like a beautifully-constructed Jenga tower: remove the wrong piece and the action of the play collapses.

In this larp, students will play numerous variations on Act I, Scene V of Romeo & Juliet. What happens if Capulet doesn’t stop Tybalt from killing Romeo at the masquerade? If all the characters are very reasonable? If Romeo and Juliet never glimpse one another?

Class discussion is encouraged after each cluster of variations is played.

The Facts

venue

Time

Two hours

Though more time is allowed if you decide to play more variations or if you have an especially large number of students.

PARTICIPANTS

8-32, more if you have a very large space.

This larp allows for up to two casts if the number of participants calls for an additional cast.

materials

OVERVIEW This script contains instructions on how to prep and run this larp, along with links to game materials that are laid out for easy printing, and quick-reference instructions the facilitator can use during the larp so they don’t need to juggle the script while directing the students.

The act of preparing and running this larp has several phases: • Step 1: Prepare the space and materials for the larp. You can do this before students

arrive, or you could ask the students to help you prepare the space and materials.

Estimated time: 15-20 minutes to prepare the space, plus some time to read the script

and fold the character sheets.

• Step 2: Prepare the students for the larp. In order to do this, you’ll need to teach

them the techniques of the game, and most importantly, you’ll have to get them

comfortable interacting with one another in a low-stakes way.

Preparing the students adequately is the most important part of the larp experience,

and it’s worth taking the time to really do it right. The students won’t larp well unless they

are sufficiently warmed up, so it’s vital to do this immediately before you play.

Estimated time: 1 hour.

• Step 3: Play some variations. During the larp, students will play several versions of the

masquerade scene. Then they will switch characters with one another, and play several

more versions. Some variations underscore particular themes in the play or highlight

certain essential attributes of a single character. For example, if Tybalt wasn’t such a war mongerer, would the play have ended in tragedy?

This script provides you with several options for variations to play. The facilitator can

select preferred variations before the game, or it would be possible to give students

some choice during the session. It all depends on what works best for your class. You can

choose to have some brief discussion after each variation, or to hold discussion for the

end of the session.

Estimated time: 30 min-1 hour. How long the larp lasts depends on the number

of scenes played and how long the discussions run, and this will vary according to the

facilitator’s wishes.

The Facilitator In larp, the facilitator is also called a “Game Master” or “GM.” The role of a facilitator in this larp is similar to that of a teacher in the classroom. The facilitator prepares the materials for the larp, explains how to play to the participants, warms them up, and directs them during the experience.

The facilitator also strives to create a space in which the participants feel safe enough to try something new. This includes watching the space to try to figure out who is feeling disengaged or left out, and coming up with strategies on the fly to include them. It also includes taking the group temperature to see whether they have one more variation left in them, or whether it is better to end now.

At the end of the day, teachers are experts of their own classroom dynamics and know how to adapt activities to make them work best for their own particular students. Using that knowledge is encouraged.

But above all else, prepare them adequately using the exercises in this text, and try to end on a positive, fun variation so that the students leave feeling energized.

The Larp’s Structure, In Brief The average classroom has around 32 students, but Act I, Scene V of Romeo & Juliet eight main speaking roles. This larp tries to spread those speaking roles around, using several techniques:

• In this larp, it’s possible to play characters who could have been at the party, but are not

specified in Shakespeare’s text, such as Rosaline, the Prince, Friar Laurence, servants, and

noble partygoers. Shakespeare didn’t flesh out many of these characters, but this script

does. There is a total of 16 characters in the cast for this larp.

• With more than 16 participants, split the group in two, and let each half play the larp

simultaneously, but on their own side of the room. Letting two groups play the larp

in parallel means that more participants get the experience of playing the named

characters. Alternately, if you have the resources, such as more instructors, you could

split the class in half and play in two rooms.

This may be easiest if you are new to running larp.

• To ensure that the maximum number of students get to play named roles, participants

will swap parts several times during the play session. So a player might portray Romeo in

two or three variations—enough time to get comfortable with the part and see how what

Romeo does changes based on the lens the variation uses—and then swap and see the

scene through the eyes of Sampson the butler.

During the larp, students will talk to one another and behave as they think their characters would.

Each character sheet has a list of objectives they must accomplish during the baseline versions of the scene. For example, Tybalt must arrange to overhear Romeo, ask a servant for his rapier, and let Capulet talk him down from violence. During a variation, it is possible that all those things might not come to pass. If he is instructed to be reasonable during a variation, for example, it is likely that he wouldn’t feel moved to ask a servant for his rapier. ◊

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TECHNIQUES, RULES, THEMES & VARIATIONS This section contains some details on the techniques, rules, and themes that the facilitator will explain to the participants during the workshop (see below) before the larp begins.

Techniques Shakespeare calls for his characters to do several things that would be either inappropriate for the classroom or tough for the students to accomplish without a lot of training—fighting, dancing, and kissing.

For these reasons, this larp uses symbolic techniques to make these activities safe and easy.

The facilitator will introduce these techniques to the students while preparing them (specific directions on how to do this are in the Walkthrough section). When you introduce the students to the techniques, you should go in the order of what will make them least nervous to most nervous. This usually means you will introduce them to the fighting technique first, then to the dancing technique, and lastly to the kissing technique.

Fighting

Most characters present are trying to prevent the horror of further violence. But, if violence is needed, it should be mimed in super-duper slow-motion. It only counts as a punch or rapier thrust if the aggressor keeps their hand at least five inches away from that of their victim. One character, moving extremely slowly, moves a fist toward the other’s face. The victim chooses how to react (did this punch knock them out or merely stun them?) and reacts physically, recoiling from the punch.

Sneak attacks (attacks from behind) do not count as attacks for safety reasons. In order for this technique to work properly, it is essential that the victim see the aggressor’s hand (or mimed rapier) coming from far away.

Dancing

Two players press their right hands together and walk in a circle. When they have circled once, they switch to their left hands and walk in a circle again. Repeat until tired of dancing.

Kissing

Two characters face each other with their hands up and palms facing outward. They press their palms together and look into each other’s eyes. In this larp, characters may only kiss if they are in the “private space” portion of the set, which will be clearly demarcated with masking tape on the floor. Most scenes will have at least one kiss between Romeo and Juliet in them.

Rules Tybalt’s Rule

In any scene, only Tybalt may “out” or “reveal” Romeo or Bevolio as party-crashers from the Montague clan.

Need a Break?

If a participant needs help during play they should step out and talk to a facilitator.

Scarves

Wearing a scarf means that a character is behaving a bit differently in this particular variation.

Maybe Tybalt is a pacifist in this variation, but everyone else behaves normally. Their backstories and mannerisms are otherwise the same, but these characters wear a scarf to remind others that they are behaving differently.

Let Them Swap

Shakespeare let actors play parts in his dramas without regard for gender—men often played women, for example. Participants will swap characters in this larp. Feel free to swap without regard for gender. Some cross-casting will be inevitable, as Shakespeare wrote comparatively few female characters.

What To Do If The Students Clump Up The action will not work as well if the students are all in one large mass—having many smaller discussions is better. If you notice the students clumping together, simply put three evenlyspaced masking tape crosses onto the ground in the place space, and tell the students that all three must be occupied at all times during the scene. You can also tell them that no more than four characters may participate in a conversation at a given time.

Variations The variations listed below have produced good experiences for participants during playtests, but they are not written in stone. If you or your students have ideas for variations that come up during the session, you should feel very free to incorporate those into your run.

In general, though, a variation has the most impact when the participants can compare it to the baseline version—Shakespeare’s original version—of the scene. That way a participant is comparing, for example, Tybalt’s normal behavior with his pacifist or violent behavior in the ensuing iterations. Playing the scene as it would be normally provides context.

For this reason, every time the players switch characters, the facilitators should run a fast version of the normal scene before the variation. Each variation consists of two versions of the scene that contrast with one another.

Play as many variations as time and interest permit. Not all of them need be played.

How to Play a Normal Version of the Scene

The normal version of a scene is the baseline you will always come back to at the beginning of each variation. As a facilitator, you should guide the students through this scene as a narrator of sorts. You will tell them what happens, and then give them an appropriate interval of time to mingle together.

Begin by asking them to go to the starting places marked on their character sheets, which is where each iteration will also begin. If a character is not named in the description, then the students should do what they think their character would do.

Read aloud the first part of the scene description. Let the students explore their characters for 30 seconds or more. At a suitable point, ring a bell (see Props, page 18). This can be an actual in-theflesh bell, or a sound-maker downloaded to your smartphone and amplified.

Then, tell the students what happens next, and give them the opportunity to play for thirty seconds or more, ring the bell again, and so on, until the scene is over.

Here is what happens in the scene:

• Starting places (Where every iteration will begin)

- Romeo, Mercutio, Benvolio talk about love and arrive at the masque together.

- Lady Capulet, the Nurse, and Juliet talk about marriage and Paris in the back room and

arrive and the masque together

- Everyone else is already at the ball. Capulet circulates among the guests and servants

bustle.

• Upon arrival, Romeo sees Juliet and becomes instantly smitten.

• Tybalt overhears Romeo’s voice and asks a servant to fetch his rapier. Capulet overhears

and steps in because he doesn’t want violence in his house.

• Romeo gets Juliet alone, where they talk about their mutual love. He kisses her, and she

kisses him.

• The Nurse shows up to tell Juliet her mom wants to see her. Romeo asks who Juliet’s

mom is. It’s Lady Capulet. (Dum dum DUMMM)

• Benvolio drags Romeo out of the feast.

• Juliet asks the Nurse who Romeo is. The Nurse asks a servant. He’s a Montague. (Dum

dum DUMMMM)

Variation 1: Violence & Peace Play a normal version of the scene. Then play it these two ways, for contrast:

Let's Be Reasonable

What would happen if Tybalt, Romeo, Juliet, and Lady Capulet all swore to be reasonable human beings? Give scarves to these players.

In this scene, these characters have their extreme tendencies tamped down. Tybalt won’t be mad enough to kill Romeo, though he might still complain a bit to Lord Capulet. Romeo and Juliet will like each other, but won’t burn with superhuman passion. Lady Capulet will prefer Paris as a future son-in-law, but won’t drive her daughter to marry him at all costs.

A Hair Trigger

Before the scene starts, ask all characters to be extremely unreasonable. The players can choose whether their character will have a hair trigger to lust/love or a hair trigger to rage/anger.

Discussion Questions: Did these two versions of the scene change from Shakespeare’s original version? How? Would the play have ended the same way? Would it have been as interesting? Why or why not?

The students should switch characters.

Variation 2: Lady Capulet & Tybalt Play the normal scene, then play it these two ways, for contrast:

Lady Capulet Knows Best

Juliet wears a scarf to show she is behaving differently from normal. All other characters play their roles normally. In this variation, Juliet will obey her mother at all costs, trying to find a way to fall in love with Paris, even if her heart still desires Romeo.

Tybalt Is Not Stopped

In this variation, Lord Capulet wears a scarf to show he is behaving differently from normal. All other characters play their roles normally. In this variation, Tybalt overhears Romeo’s voice and, when he calls for his rapier, Lord Capulet does not stop him.

Discussion Questions: Does this change your view of how important Tybalt and Lady Capulet are to the plot of the play? In what ways would it change the end of the play?

The students should switch characters.

Variation 3: Fate & Chance Play the normal version of the scene, then play it these two ways, for contrast:

It's Fate

Romeo and Juliet’s love—and all that comes from it—is fated true love. This iteration underscores the fate theme, dialing it up to 11. It’s written into Romeo’s character, yes, but what if all the characters felt similarly?

Each character has had a funny feeling about this party. For example:

• Romeo believes that this party will determine the course of his life, and that it might lead

to his downfall.

• Lady Capulet believes that she is fated to lose her child forever at this party.

• Juliet believes she is fated to meet her one true love.

• Prince Escalus believes he is fated to finally end the violence.

• Other characters should take a moment to incorporate the fate theme into their play.

It may be convenient to discuss the Queen Mab speech in conjunction with this scene.

It's Chance

This scene explores the possibility that Romeo and Juliet’s love is purely chance. In this scene, each cast must work together to ensure that Romeo and Juliet never have the opportunity to look at each other, and thus, do not fall in love or kiss.

Discussion Questions: Did these two versions of the scene change from Shakespeare’s original version? How? Would the play have ended the same way? Would it have been as interesting? Why or why not? Do you think Romeo and Juliet’s love is fate, or chance, or both?

The students should switch characters.

Variation 4: Societal Roles This variation looks at how opinions about gender roles impact the action. Play the normal version of the scene, then play it these two ways, for contrast:

Men Rule

Instruct the male characters to interrupt and ignore the female characters.

Instruct the female characters to behave passively and accept this.

Empowered Women

Instruct the female characters to stick up for themselves and to try to get the happiest ending for their characters. Instruct the male characters to lean back and give the female characters space to talk and express their desires.

The players should switch characters.

Last Variation: High Shakespearean Drama Always play this variation last. Larp works best when you end on a high note. Ask the participants to play the scene one last time, doing their best Overwrought Shakespearean Actor, and to dial up the intensity to soap-opera levels of drama. ◊

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WALKTHROUGH Step 1: Preparations Before the Day of the Larp

Before running this larp, you’ll need to read the script in its entirety, including all of the character sheets. And you’ll need to prepare the character sheets, book the space, and assemble the props.

Prepare the Character Sheets

Print out all of the character sheets. If you will be playing with two casts, remember to print two copies!

Fold them once lengthwise, and then in thirds to produce a handy nametag that participants can clip to their clothing using a binder clip or other tool. At least eight players are necessary to try this game, though it’s possible to play with 32, or even more.

Not all of the roles are equally important. Romeo and Juliet are more important than the servants, for example. For this reason, the character sheets are numbered in order of importance from 1 to 16. With nine players, use roles 1-9. With ten players, use roles 1-10, and so on.

You can also see the character priority list here: 1. Romeo 2. Benvolio 3. Juliet 4. Nurse 5. Lady Capulet 6. Lord Capulet 7. Tybalt 8. Paris

9. Mercutio 10. Prince Escalus 11. Rosaline 12. Sampson, Capulet’s Head Butler 13. Friar Laurence 14. Helena/Harrold (Partygoer) 15. Peter, Capulet’s Assistant Butler.

16. Valentine/Valentino (Partygoer)

A Note On More Than One Cast

This larp is modular—you can scale it up. If you have more than 16 players, you’ll need to break the players into two casts. For example, with 21 players, break into a cast of 10 and a cast of 11, using roles 1-10 and 1-11 respectively. Each cast will need its own set of character sheets and its own taped-off play area, though both play areas can be in the same room.

If the sets are conjoined along the dance floor, then it will be possible for participants from different casts to interact by dancing together.

Book the Space

This larp requires one large empty space— the more players, the larger the space required. A stage, gym, cafeteria, classroom, or other suitably large space would work well. This space should be in a private location, set up in a spot where there aren’t people walking by or through the larp as it happens. Larp works best when participants can play for themselves, and without the added anxiety of being watched by an audience.

Props

• A bell to help the participants get quiet and listen. An actual bell works well, as does a

bell tone app downloaded to a smart phone and amplified. The purpose of the bell is to

save the voice of the facilitator, by helping participants get quiet at the end of each

variation.

• Masking tape to tape off the ground and make the set.

• A pen to write notes on the masking tape for the cast.

• Four or five scarves per cast. These could be fancy gauzy things, or winter scarves the

participants bring from home. Used to show a character is behaving differently than they

do in Shakespeare’s play.

• Snacks and drinks (optional). Real snacks give the students playing servants something

physical to do—fix snacks, deliver snacks, remove spent cups. For everyone else, food

and drink provide a familiar touchstone. Sure, maybe the participants haven’t larped be

fore, but they definitely know how to make small talk over a bowl of chips. Feel free to

go as big or little as desired. Food is nice, but it’s not strictly necessary—the students can

easily mime it.

• Music (optional). Music can enhance the atmosphere and ease player anxiety by

providing background noise. Go traditional and put on some medieval tunes, or even the

music from the opera adaptation Romeo and Juliet. Or do a modern adaptation with

today’s party music. If the sound is too chaotic simply turn it off.

The Day Before The Larp Prepare the Space

OUTDOORS

CHAIRS

DANCE FLOOR

CAPULET’S MANSION

STAIRWELL/ PRIVATE SPACE

Before the larp begins, and optionally with the help of the players, demarcate the different locations of Capulet’s mansion by placing masking tape on the floor according to the following sketch:

SNACK TABLE

It’s important to tape out where the walls and doors are, and not to use the actual walls or doors to the room for this purpose. You want to be able to see and communicate with all the participants at all times. Although there are no actual physical walls, the participants will pretend that one part of the room is the entrance to Capulet’s mansion, that the stairwell is hidden, etc.

Write on the masking tape to help students remember what each part of the set represents.

If playing with more than 16 players, tape the ground so that the two sets mirror one another but are conjoined in the middle, where the dance floor would be, like this: OUTSIDE

CHAIRS

CHAIRS

A+B

DANCE FLOOR SNACK TABLE STAIRWELLS

CAPULET’S MANSION

CAPULET’S MANSION

OUTSIDE

The players may move freely through the set, so long as they are traveling as they think their character would travel. When playing with two casts, it is OK for players from different casts to dance together on the dance floor.

Delineating the space using masking tape on the floor has several functions:

• Gives each character a place to stand when the scene begins. (The “starting place”

denoted on their character sheet.)

• Divides space between the public zone of Capulet’s mansion and the private zone of the

stairwell, thus telling Romeo and Juliet where to sneak off to kiss.

• Helps other players know where to go to do what activity. The servants will likely move

between the main space of the mansion and the party space, serving (real or imagined)

snacks and drinks, the noble partygoers will be grabbing people to dance on the dance

floor, etc.

• Makes it easy for the facilitator to have an unobstructed view of the entire play space and

keep tabs on what is happening.

• Helps the students see what is happening. If the Nurse can see that Romeo and Juliet are

using the kissing technique in the stairwell space, then she knows it is time to knock on

the door and tell Juliet that her mother is looking for her.

The facilitator should feel free to alter the layout of the set provided that the space contains the following:

• The entrance to Capulet’s mansion, through which Romeo, Benvolio, and Mercutio enter.

• A back room where Lady Capulet, the Nurse, and Juliet can discuss Paris before joining

the feast

• A private stairwell for kissing

• A dance floor

• A snack table

• A few chairs

IMPORTANT

Whatever you do, make sure you have—at most—half as many chairs as participants. Placing too many chairs in a space like this makes participants more likely to sit down and stay put, rather than moving around and mingling with their co-players.

Step 2: Prepare the Players Once you have the players gathered, you’ve got to get them into the right frame of mind and body to larp. This is the most important part of the whole experience, as it sets the tone for all that follows. This means explaining the exercise to them, providing some activities for getting the wiggles and giggles out, and most importantly, having them briefly practice each of the skills that the larp uses. That way they feel competent and secure by the time the exercise begins. In order to prepare the players, do the following activities in the following order:

Explain the Exercise (10 min)

• Play the bell tone for the students and tell them that when they hear it, they should get

quiet. Use the bell tone any time you need to quiet the students down so they get used

to doing so.

• Explain the structure of the exercise—that students will play Act I, Scene v in several

different ways, making different changes to the action of the scene, based on the

directions the facilitator gives. During these scenes, they will be playing a role and acting

as if they are one of these characters. Don’t worry if a student doesn’t like a part they end

up with—they’ll switch roles often. And you’ll explain more about how to play a character later.

Get the Students Physically Comfortable (10 min)

Use these two physical warm-ups, or two others, to get the students in the mindset of interacting differently than they normally do. You can also use these to build their feelings of confidence and competency, which are important to a successful larp.

The Reception Line

Ask the participants to form a line. Everyone will shake hands with each other in this particular snake-like fashion. The person at the front of the line introduces themselves to the next person in line by shaking their hand and saying, “Hi, I’m <name>,” and then continues on down the line, shaking hands and introducing themselves. As soon as the first person in line passes the second person in line, the second person in line now begins going down the line and shaking hands, until everyone is shaking hands in a continuous line. Continue until the person who began is again at the front of the line.

Speed Hand-Shaking

Get the participants into a mass in the center of the room. Tell them they have two minutes to shake the hand of every other participant in the room. Time it. At the end of two minutes, congratulate them on doing such an excellent job. Tell them that they were so excellent, that they now have one minute to complete the same task. Time it. At the end of one minute, tell them they did an amazing job. So amazing, in fact, that they now have thirty seconds. Time it.

Wow! That was incredible. Give them 15 seconds, then five seconds. By now, the energy level in the room should be high.

How to Larp (20 min) Playing a Role

Tell participants again that they will be playing a role during this exercise. They will be like themselves, but slightly different. They don’t have to talk in a funny voice or with lots of thees and thous. They can talk just as they talk now, but with the personality of say, Mercutio, or Lady Capulet. No one will be judging them on their acting ability. What is important here is the way it feels to play the character.

Yes and…

Introduce them to the rule of “yes and,” namely that in improvised scenes like these, everyone works together to build the narrative. This is easiest when players accept one another’s suggestions and build on them. If one person says, “It’s raining,” the next one says “yes, and the thunder scared the cat away from the window.” If there is enough time, get them into a circle and begin the story with “It was a dark and stormy night.” Have players pass to the left, and each participant adds one sentence that begins with “yes and…”

Distribute Characters

If necessary, divide the players into two casts first, one on each side of the room. Don’t worry about who is playing who—let the roles be assigned randomly. Give them a few minutes to look at their character sheets.

Walk Them Through the Character Sheet

Each character sheet has a short character description and a few keywords to help students remember what the character is like. Students also have a list of tasks they should try to accomplish during the scene, and many characters have a line they should try to say. In addition, there is a list of events that happens during the scene as Shakespeare wrote it.

Encourage them to build on what is on the character sheet so long as it doesn’t contradict what’s already there or the setting of the play. For example, perhaps Rosaline’s favorite color is green and her favorite food is spaghetti, or that she has several sisters at home. Ask the players to clip the character sheets to their clothing so the character names are visible.

Practice Making Small Talk

Tell the players that they will practice talking in character. Ask them to walk around the room, exploring the space with their bodies. Ask them to think about how their characters walk. Do their characters walk differently from them? When you ring a bell, they should form pairs (with a trio if you have an odd number of players), and talk to each other as if they have just met after a class. Have they just come from the same class? Did they enjoy that class? Was it boring or interesting?

Repeat the exercise, and this time, ask the characters to meet and talk about what they think is going on in Verona. Do they approve of the feud? Who do they think is to blame?

Explain Techniques and Rules (10 min)

Ask the participants to form two lines facing each other.

• Have them practice the fighting technique. Let each partner play both the aggressor and

the victim. (5 min)

• Have them practice the dancing technique. (2 min)

• Have them practice the kissing technique. (2 min) Make sure you do the kissing technique last, as it is the one the students will be most nervous about.

You will also want to explain that only Tybalt can uncover who Romeo and Mercutio are. You can explain about the scarves the first time they are used.

Show Them the Space (3 min)

Walk the participants through the play space or spaces, pointing out the different zones for play.

With two casts, let the participants know they can interact on the dance floor.

Status Line (5 minutes)

This exercise will help the students understand the class differences among the characters.

Ask the participants to make a line across the room. The line represents a spectrum from high status characters at one end, to low status characters at the other end. Participants should negotiate with one another to move up or down the line. Help participants if necessary. The highest status character in the larp is the Prince, followed by the noble members of his house, and so on down to Peter, the assistant butler. Go down the line with character names, so the relationships are clear to the players.

Depending on how the students negotiate with each other, the line will look something like this: 1.

Escalus (the Prince) 6.

Juliet, Rosaline 2.

Mercutio and Paris 7.

Friar Lawrence 3.

Lord and Lady Capulet 8. Nurse 4.

Valentine/Valentino and Helena/Harrold 9. Sampson 5.

Tybalt, Romeo, Benvolio 10. Peter

Dry Runs (15 min)

This will get students used to taking direction from you and will ease them into the variations.

You will play the normal version of the scene twice—with you using bells and narrating what happens.

• Pantomime. Play the normal version of the scene as a completely silent pantomime.

• Go Big or Go Home. Play the normal version of the scene—this time the students can

talk. However, they shouldn’t try to play this scene realistically—they should play things

out as if this is a melodrama, a farce, an over-the-top anime space opera!

These exercises have several purposes. Using these restrictions helps the students loosen up by taking off the pressure to talk, and by taking off the pressure to be realistic. It also helps fix “what really happens” in the students’ minds.

Step 3: Variations (30-90 min) Play anywhere from one to three of the variations, as time permits. End scenes by ringing a bell, when it looks like the action has gone far enough, and before the participants get too bored.

Select from the list of pre-written variations, or ask the participants for input or scenes they would like to play.

As play continues, adjust to the participants. If they are having trouble remembering what is supposed to happen during the scene as Shakespeare wrote it, it could make sense to read the skeleton version aloud and let them raise their hands every time their character is mentioned, before playing out the normal version of the scene. In contrast, if they get it quickly, perhaps it makes sense to skip some of the normal runs of the scene. Check in with them throughout play to keep tabs on what is happening.

A Word on Switching Characters

Each time the participants switch characters, ask them to take on a character they have not played before. This will ensure that each student gets to see the scene through multiple perspectives. It’s also possible to vary up who gets the “leading” roles by relying on the character numbers. Characters 1-9 are the bigger named parts, while characters 10-16 are the supporting characters. With a large group, it’s possible to ensure that everyone gets the chance to be a star by asking the players who are 10-16 to choose their new characters first.

A Word on Facilitating

As the facilitator, it’s OK to lurk and listen in to different conversations, give scene direction to students who are having trouble (Lord Capulet needs a snack! Juliet looks lonely...why don’t you talk to her?), so that you can keep tabs on what’s happening in the class. With larp, players often appear serious or bored-looking to outsiders, when in fact, they are simply absorbed in their characters. It’s OK to ask participants how they’re doing—if they’ve wrapped things up or want to play a bit longer before officially ending a scene.

Debrief

After the session is over, thank the participants and discuss the experience as a group. What have the students learned about Romeo & Juliet? What was the experience of larping like? The ramifications can be explored more thoroughly in the next class session, time permitting. ◊

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HACKS This script contains some tools for discussing Romeo and Juliet and different ways to use them.

You are, of course, welcome to remix, hack, pull apart, and otherwise play with what is here.

When remixing and hacking, though, make sure to workshop immediately before you play every time you play. This takes time, yes, but it’s time well spent. Warming up participants immediately before play helps them develop mutual trust in one another, which is vital for an activity like this, where they may appear vulnerable before other people. It also helps students remember the methods and rules.

Larp does not work very well with an audience—it’s better to add another cast of characters.

Adding an audience significantly changes the vibe in the room. Some players will feel nervous about being watched, and some will ham it up to play to the audience. Plus, larp often looks quite boring from the outside. It’s a bit like watching someone else’s dinner party without being able to participate.

The Minstrel Larp can be challenging for people with very high levels of social anxiety, or who have lots of trouble interacting with others in a party-type setting. If this describes one of your students, you can include them by creating a minstrel character, whose job it is to play music during the event.

Simply create a playlist, or if your student can prepare, let your student to create one and be the DJ during the session. They can stay in the minstrel position for every variation, or the designated minstrel could rotate between variations.

Other Ways To Enhance Play The setting of this larp, and larp’s inherent interdisciplinary qualities, mean there are lots of ways to cooperate with other departments. Here’s a starter list of suggestions:

• A unit on theater-style improv

• Dance instruction in medieval techniques

• Involve classical music, through the music of Charles Gounod’s opera Romeo and Juliet

• Cooking medieval food as a prop

• An art unit on mask-making that would allow each student to decorate and wear their

mask during the game

• Game design unit on character choices and agency

CHARACTERS As Shakespeare wrote it:

• Upon arrival, Romeo sees Juliet and asks a server who she is; he’s smitten.

• Tybalt hears Romeo’s voice and asks a servant to fetch his rapier. Capulet overhears and

steps in. He doesn’t want violence in his house.

• Romeo gets Juliet alone, they talk about their mutual love. He kisses her, she kisses him.

• The Nurse shows up and says Juliet’s mom wants her. Romeo asks who Juliet’s mom is.

It’s Lady Capulet. (Dum dum DUMMM!)

• Benvolio drags Romeo out of the feast

• Juliet asks the Nurse who Romeo is. The Nurse asks a servant. He’s a Montague! (Dum

dum DUMMMM!)

Montagues 1. Romeo

Keywords: Melancholy, In love with love “O, then, dear saint, let lips do what hands do.”

You would do anything for love, particularly for the divine Rosaline. That is, until you see Juliet at the party. Her beauty! Her grace! Her innocence! She’s the most compelling creature you’ve ever seen. You must find a way to talk to her, alone of course, and if you do, you may not be able to prevent yourself from kissing her.

Family: Benvolio Friend: Mercutio Enemy: Capulets Starting position: Outside Capulet’s mansion, talking about your love for Rosaline with Mercutio and Benvolio.

What to do during ordinary versions of this scene:

• See Juliet and fall instantly in love with her.

• Arrange for Tybalt to overhear you and recognize your voice

• Talk to Juliet and find a way to take her to the stairwell and kiss her. If at all possible, try to

use the line at the top of this sheet when you do.

• Ask the nurse who Juliet’s mother is.

• Let Benvolio drag you away when it is time to go.

What to do during altered versions of this scene: If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

2. Benvolio

Keywords: Practical, Follows the rules, Peacemaker “Tell me in sadness, who is that you love.”

You’re a good, god-fearing Montague, but this feud between your family and the Capulets has to stop. You’re tired of living in a war zone, and just want to be alone with your books. You’re here to help keep your cousin Romeo out of trouble, and to prevent Mercutio from making a scene. But you are also quite fond of dancing and like to talk with intelligent lords and ladies, so it’s possible you’ll be distracted. You’re curious about why Romeo is so keen on Rosaline, and will try to talk to her to understand why.

Family: Romeo Friend: Mercutio Enemy: Capulets Starting position: Outside Capulet’s mansion with Mercutio, trying to talk Romeo down from attending this party.

What to do during ordinary versions of this scene:

• Talk to Rosaline and try to figure out why Romeo is so into her.

• If you get bored, either dance or talk to the nobles, while enjoying the fact that most of

them don’t know you’re a Montague!

• After the Nurse drags Juliet away from the stairwell and Romeo asks the Nurse who

Juliet’s mom is, talk to Romeo and drag him out of the party. Use your line in this

conversation if at all possible.

What to do during altered versions of this scene: If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

Capulets 7. Tybalt

Keywords: Hot-headed, Out for revenge, Loyal “This, by his voice, should be a Montague. Fetch me my rapier, boy. “ You are a loyal Capulet, and you hate all Montagues. Your uncle, Lord Capulet, is throwing this fabulous party to strengthen the family’s political position and ensure you can get justice from a biased Prince. You are here to see that your family honor is maintained and to defend it from any slight. Make sure that no one does anything outside the bounds of propriety. At an appropriate point in the variation, arrange to overhear Romeo, and recognize him as a Montague!

Family: Lord and Lady Capulet, Juliet, Rosaline Friend: The family honor and beyond!

Enemy: The Gutless Montagues Starting Position: At the party, entertaining the guests.

What to do during ordinary versions of this scene:

• Find Escalus (the prince) or Paris and help them understand why the Capulets are in the

right.

• Be aware of where Romeo’s player is. Early on, you should overhear him. Use your line to

ask a servant to fetch your weapon. Make sure your father overhears you.

• Let your father, Capulet, hold you back from killing Romeo.

What to do during the altered versions of this scene: If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

6. Lord Capulet

Keywords: Hospitable, Proud, Unforgiving “You'll make a mutiny among my guests!”

You are the host with the most! Make sure all the guests have a good time, eating, singing, and dancing, and that the servants distribute the food and wine properly. Or else. There’s also the matter of your daughter, Juliet. Should she marry Paris? You agree with your wife that it would be a good match, but your little girl is still only 13, so he better impress you (and her) with his manners. Keep an eye on your hot-headed nephew Tybalt. This party will be perfect, and nothing will ruin it.

Family: Tybalt, Juliet, Lady Capulet, Rosaline Friends: Everyone here, of course.

Enemies: Anyone who disrupts your perfect feast.

Starting Position: At the party, making sure all your guests feel comfortable and welcome.

What to do during ordinary versions of this scene:

• Talk to Lady Capulet or Juliet about making the best impression on Paris. Assess Paris as

a potential son-in-law.

• When Tybalt overhears Romeo, stop him from making a scene or killing anyone. If

possible, use your line during this exchange.

• Make sure you are distracted enough that Juliet will be able to slip off to the stairwell

alongside Romeo.

What to do during altered versions of this scene: If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

5. Lady Capulet

Keywords: Status-driven, Cold, Self-important “Speak briefly, can you like of Paris' love?”

This party is a very important event for your family. The most charming and connected people in town are here, but more importantly, so is Paris, a nobleman who has expressed interest in your daughter Juliet. At 13, Juliet is slightly younger than you were when you gave birth to her.

Ah. To be thirteen again, and engaged to a man twice your age. Sigh. But that’s how things are

done. Make sure Paris shows himself to best advantage, and get your daughter to consent to the match, whatever it takes.

Family: Lord Capulet, Tybalt, Juliet, Rosaline Friends: Paris, those who agree with the match Enemies: Anyone who disrupts the perfect marriage you’re arranging Starting Position: Preparing for the party with Juliet and the Nurse, while discussing Paris.

What to do during ordinary versions of this scene:

• Use your line when you talk to Juliet during starting positions.

• Talk to Paris and make sure he likes you and Juliet. If possible, find a way to make Paris

and Juliet dance. Be distracted at the crucial moment when Juliet is trying to sneak off

with Romeo.

• Play the gracious hostess, making sure to talk to each of the noble guests. If you get

bored, dance.

What to do during altered versions of this scene: If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

4. Nurse

Keywords: Jokester, Motherly, Does what’s proper “Madam, your mother craves a word with you.”

You weren’t raised to have fancy airs, but now that you’re in this noble household, you’re doing your best to mimic their attitude and manners, at least while you’re on the clock. At heart you’re a bawdy dame who likes to joke around. But your love for Juliet is no joke—she’s like a daughter to you. Lady Capulet thinks Paris would be a good match for Juliet. You know your place—you’re contractually obligated to agree with your mistress. But when it comes right down to it, you’re on Juliet’s side and would do anything to help her get what she wants.

Family: Well...Juliet is like a daughter to you.

Friends: the Capulets, Paris, the Servants Sampson and Peter, particularly Peter.

Enemies: Anyone who tries to hurt your darling charge Starting Position: Preparing for the party with Juliet and Lady Capulet, while discussing Paris.

What to do during ordinary versions of this scene:

• After Romeo and Juliet sneak off, ask the servants Sampson or Peter are about Romeo’s

parentage. (If the servants are not present, just pretend you’ve done this).

• Make sure to interrupt Romeo and Juliet in the stairwell after they have kissed. Tell Juliet

her mom wants her. Answer Romeo and Juliet’s questions about each other’s families

truthfully. If possible, use your line to do this.

• Help be a gracious host, talking to Friar Laurence, Rosaline, and helping the servants if

needed. If you get bored, dance.

What to do during altered versions of this scene: If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

3. Juliet

Keywords: Romantic, Innocent, Makes snap decisions “My only love sprung from my only hate! Too early seen unknown, and known too late!”

You’re a young, sheltered girl who has lived most of her life under the protection of your Nurse, who is your constant companion. Your mother loves you—she must, right?—but she is distant and cold, and only talks about making a good marriage for the family. Both our Nurse and mother are keen on this Paris guy, and you feel pressure to marry. But you have read a lot of novels about the burning fire of romance, and men on white horses. Your love, once given, is eternal. When you marry, you want it to be for love!

Once you see the dashing Romeo at this party, you will fall instantly in love with him. Try to be alone with him, if you can. And if he...gulp...were to kiss you, well, you’d probably have to kiss him back.

Family: Lady Capulet, Lord Capulet, Tybalt, Rosaline Friends: Nurse, Rosaline Enemies: None Starting Position: Preparing for the party with your mother and the Nurse, while discussing Paris.

What to do during ordinary versions of this scene:

• Fall instantly in love with Romeo when you see him. Tolerate Paris, but only because you

have to. If you get bored, dance.

• Sneak off to the stairwell with Romeo and after he kisses you, kiss him back.

• After the Nurse interrupts you, find an opportunity to ask her about Romeo’s family, then

use your line if at all possible.

What to do during altered versions of this scene: If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

11. Rosaline

Keywords: Religious, Pure, Intelligent.

(Rosaline does not have any lines, nor any character description in Shakespeare’s original text.

This character description is imagined. What is clear from the text is that Capulet invited her to the masque. For the purposes of this larp, you can imagine her into the scene.)

You’ve taken a vow to maintain your purity, and because getting married does not interest you. Spending the rest of your life shackled to some older man you have to obey, and playing nursemaid to toddlers sounds terrible. You’d rather spend those years studying fascinating books at the convent and being useful to the poor. You will try to have a good time at this party without eating, drinking, dancing, reading, or kissing anyone. Sigh. Parties can be quite dreadful really.

Family: Your Aunt and Uncle Lord and Lady Capulet, Tybalt, your cousin Juliet Friend: Capulet’s servant Sampson often hangs around you. Juliet is nice but has her head in the

clouds. Friar Laurence might be able to help you enter the convent.

Enemy: immorality in all its forms, marriage.

Starting Position: At the party, trying to enjoy yourself.

What to do in ordinary versions of this scene:

• If you get bored, sigh loudly. If you get really bored, pretend to read. If you get really really

bored, give in, and dance.

• Make eyes at Romeo from across the room.

• Talk to Friar Laurence, the servants, or any of the sinful young nobles so fond of partying.

• Make sure to inject plenty of suggestions about proper morals into any conversation

you’re part of.

What to do during altered versions of this scene: If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

The Prince’s House 9. Mercutio

Keywords: sarcastic, clever, hot-headed, loyal “If love be rough with you, be rough with love; Prick love for pricking, and you beat love down.”

Your friendship with Romeo is the stuff of legend. Seriously. He’s the best of best friends, your bro, your sidekick, and your confidant. You’d do anything to help him get what he wants. Now, though, he’s snuck into this party uninvited. You were invited though, so the best thing you can do to help him is act normal—flirt with the ladies, drink with the gentlemen, and dance till your feet fall off. Log some quality time with your kinsman Paris, but keep an eye on Romeo to make sure he doesn’t do anything stupid with that Rosaline girl. Love is making a fool of Romeo—make sure to tell him this at the beginning of the scene.

Family: The Prince, Paris Friend: Romeo Enemy: boredom Starting Position: Outside Capulet’s mansion with Benvolio and Romeo, making fun of Romeo for

his crush on Rosaline.

What to do during ordinary versions of this scene:

• Try to use your line during your starting place conversation with Romeo and Benvolio.

• You’re a party animal. Talk to Paris to see what’s new with him, ask the servants to bring

you food and drink, and make sure to dance lots.

• If Romeo seems like he’s in need of a wingman to distract, say, Juliet’s parents, you’re the

man he needs.

What to do during altered versions of this scene: If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

8. Paris

Keywords: Gallant, Noble, Polite, Honorable “But now, my lord, what say you to my suit?”

You’re a kinsman of the prince and love to party with him. You also think Juliet is a lovely girl, and marrying her would cement the ties between your house and the Capulets. At this masquerade, you’ll need to impress her parents—her father in particular—with your manners and accomplishments. Make sure to brag about how wonderful you are! Juliet will do what her parents tell her to, of course, but it’d be best to make her fall in love with you. Try to woo her in a properly chaperoned setting.

Family: Mercutio, The Prince Friends: Any man who proves himself honorable.

Enemies: anyone who breaks the bonds of politeness Starting Position: At the party, trying to impress your future father-in-law.

What to do during ordinary versions of this scene:

• Talk to Lord and Lady Capulet and try to prove to them that you'd be the best son-in law.

• If they balk, lean on the suggestion that they could really use allies in the Prince’s house

as part of this feud. Use your line when you talk to them.

• Talk to Juliet and dance with her, but be as boring as possible when you do so. If you get

bored and Juliet’s not around, either make a show of sulking, or dance with someone else

while throwing meaningful looks at her parents.

What to do during altered versions of this scene: If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

10. Escalus, Prince of Verona

Keywords: Authority, Party animal, Peacemaker “If ever you disturb our streets again, your lives shall pay the forfeit of the peace.”

You represent law and justice in this town, and work to swiftly settle any disputes that arise. The generations-long feud between the Montagues and Capulets frankly makes you look bad—as if you cannot keep the peace, including this week’s tiff on the street. You have come to this ball to talk to Lord Capulet about what it would take to mend the rift between the two families. At least that’s what you tell yourself. You are also a bit too fond of partying with your kinsmen Mercutio and Paris, and Lord Capulet does have very fine taste in food and wine…

Family: Mercutio, Paris Friends: Your loyal subjects who make you look good. Anyone doing a good job of partying.

Enemies: Anyone who breaks the peace. Sourpusses who aren’t having a good time.

Starting Position: At the party, being gracious to all the guests.

What to do during ordinary versions of this scene:

• Encourage Lord and Lady Capulet to make peace with the Montagues.

• If they are resistant, use your line to try to threaten them into going along with you.

• Catch up with Mercutio and be a party animal. Ask the servants for food and drink, and

dance, dance, dance!

What to do during altered versions of this scene: If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

Extras 12. Sampson, Capulet’s Head Butler

Keywords: Discretion, Politeness, Hard worker “Now I'll tell you without asking: my master is the great rich Capulet.”

(Sampson, a Montague armed with a buckler and sword appears in the first scene of Shakespeare’s play. For the purposes of this larp, that character has been combined with an unnamed servant of Capulet’s, and given the title of Head Butler.)

Your lot in life is to serve your master, Lord Capulet. Make sure everyone at his party has something to drink and eat. (If you don’t have party props, mime this!). Lord Capulet has the best servants. And you make sure that those servants glide through the background, subtly keeping the wine glasses full, coughing at the appropriate moment and using meaningful glances to communicate one’s feelings. If something goes wrong—say, if you notice that a Montague has showed up—you’ll do your best to hide it, for fear of your master’s temper. Try to overhear as much as you can to help your master. You find Rosaline admirable, and always serve her first.

Family: Peter Friend: Rosaline, the Nurse Enemy: Anyone trying to harm your family. And Peter, Capulet’s assistant butler.

Starting Position: At the party, making sure guests are comfortable and fed.

What to do during the ordinary versions of this scene:

• Bring actual or mimed snacks and drinks to all the participants. If you hear any useful

gossip, let Lord Capulet know. Try to hang around Rosaline as much as possible and

engage her in conversation.

• Arrange to be nearby when Tybalt overhears Romeo. If you like, you can use your line to

refuse to do so. If Capulet doesn’t overhear Tybalt’s request, tell him

• Develop your rivalry with Peter. Perhaps you like to order him around, and that makes him

mad. Perhaps when you hang out with Rosaline, he has the opportunity to show you up.

Make the conflict interesting. If Peter is not in play, arrange to be by the Nurse after she

breaks up Romeo and Juliet’s kiss-fest, and answer her truthfully about Romeo’s family.

What to do during altered versions of this scene: If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

15. Peter, Capulet’s Assistant Butler

Keywords: Jealous, Scheming, Status-conscious.

“You are looked for and called for, asked for and sought for, in the great chamber.”

(In Shakespeare’s original, Peter serves as the Nurse’s assistant in the latter half of the play. For the purposes of this larp, his character has been combined with the servants present in Act I, Scene V.) Your master, Lord Capulet, doesn’t appreciate his wife as much as he should. Your lot in life is to help your mistress be a stunning success. This means ensuring that her glass is full, that she is informed of any relevant gossip, and that you keep an eye on her daughter Juliet, whose head is full of romantic nonsense. In addition, you’re jealous of your kinsman Sampson—you’d like to move up from assistant to head butler, and if you can show him up by performing his duties better than he can, you will. You’re friendly with the Nurse, because you know she’s loyal to Lady Capulet, and you’ll try to help her out if you can.

Kinsmen: Sampson Friend: The Nurse Enemy: Sampson, Anyone trying to harm Lady Capulet’s goals for her daughter.

Starting Position: At the party, making sure the guests are comfortable and fed.

What to do during ordinary versions of this scene:

• Bring actual or mimed snacks to participants. If you hear any gossip along the way, let

Lady Capulet know. Use your line to fetch her, the Nurse and Juliet from their starting

places if they are being slow to enter the scene.

• Arrange to be nearby when the Nurse discovers Romeo and Juliet in the stairwell, so that

when she asks about Romeo’s family, you can tell her.

• Talk to Rosaline to make Sampson jealous

• Try to develop your rivalry with Sampson. Become irate if he orders you around. Take

advantage of his crush on Rosaline to show him up. Be a better butler than he is!

What to do during altered versions of this scene: If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

13. Friar Laurence

Keywords: Kind-hearted, Civic-minded, Optimistic “These violent delights have violent ends and in their triumph die, like fire and powder.”

(In Shakespeare’s original, Friar Laurence doesn’t appear until much later in the play. For the purposes of this larp, he has joined the masquerade scene.)

You’re a humble Franciscan friar. Though some wouldn’t consider it seemly for a Catholic mystic like you to attend a party like this, you think it’s a good opportunity to try to talk some sense into Capulet, and any Montague dumb enough to show up. You’ve heard that Rosaline might be interested in entering the church—it’s a heavy decision for her to weigh, when she could serve god by becoming a mother. The Prince shares your peaceful goals, but you suspect that is for his own glory and not god’s.

Kinsmen: We’re all god’s creatures, aren’t we?

Friends: The Prince, and anyone else who seems interested in bringing this terrible feud to an end, no matter the cost. Rosaline, for her religious devotion.

Enemies: Anyone who breaks the peace or contributes to this horrible feud.

Starting Position: At the party, trying to find someone interesting to talk to.

What to do during ordinary versions of this scene:

• Try to forge peace. If you get bored, dance.

• After Tybalt overhears Romeo, find Benvolio and talk to him about the feud. Talk to Lord

and Lady Capulet about settling this.

• Advise Rosaline on entering the convent. It’s OK if you don’t know specifics about this out

of game, just wing it!

What to do during altered versions of this scene: If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

16. Valentine/Valentina, Noble Partygoer

Keywords: Kind, A bit sappy, Pushy in getting others to dance with you (Early in Shakespeare’s original text, Capulet tells a servant to invite Valentine to the evening’s ball. Valentine is not named again in the text, but for the purposes of this larp, they attend the ball and try their best to find a suitable marriage match.)

You are a person capable of deep love and of deep passion. You’re here to try to find true love— with someone who matches the high status of you and your family. Try to get another gentlyborn person to introduce you to someone new. Commiserate with your poor cousin Helena/ Harrold. And if dancing with your crush doesn’t lead to true love, you don’t know what will!

Kinsmen: Helena/Harrold, your cousin and partner in crime.

Friends: Anyone who is worthy of love, according to your sweet and genuine affections.

Enemies: Anyone who behaves in a mean fashion.

Starting Position: At the party, either dancing, or trying to find a dance partner.

What to do during ordinary versions of this scene:

• At the beginning of the scene, pick a non-servant character for yours to fall deeply in love

with. Alternate between talking to that character, dancing, and advising Helena/Harold

on their love life.

• If you aren’t sure who to fall in love with, talk to some nobles until you find one you think

would be a suitable match.

• When in doubt, find a new partner and dance.

What to do during altered versions of this scene: If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

14. Helena/Harrold, Noble Partygoer Keywords: Ambitious, Bold, Loves to dance

(Early in Shakespeare’s original text, Capulet tells a servant to invite the “lively Helena” to the evening’s ball. Helena is not named again in the text, but for the purposes of this larp, they attend the ball and try their best to find a suitable marriage match.)

Your parents don’t have much of an estate, which makes finding an attractive, powerful, and rich spouse difficult. You despair of finding a partner. Still, you are ambitious and hope to sweet talk your way into a favorable marriage Try to ingratiate yourself with anyone who has more power than you do—that is, anyone here who is not a servant. And of course, look after your lucky, and much-richer cousin Valentine/Valentina. They might help lure in an appropriate new partner. You show to best advantage while dancing. So make sure to dance!

Kinsmen: Valentine/Valentina, your rich and somewhat sappy cousin.

Friends: You’re here to make (powerful) friends! And dance!

Enemies: Anyone who gets in the way of a favorable match.

Starting Position: at the party, dancing, or trying to find a dancing partner.

What to do during ordinary versions of this scene:

• At the beginning of the scene, pick a character for yours to fall deeply in love with.

Alternate between talking to that character, dancing, and advising Valentine/Valentina on

their love life.

• If you aren’t sure who to fall in love with, talk to some nobles until you find one you think

would be a suitable match.

• When in doubt, find a new partner and dance.

What to do during altered versions of this scene: If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions. ◊

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FACILIATOR CHEAT SHEET Step 1: Preparations Before the Day of the Larp

• Read the script • Book a room with a door • Gather supplies: a bell, masking tape, a marker to write on the tape, binder clips for character sheets, four scarves per cast, snacks and music (optional) • Print this cheat sheet. Consider whether you also want a printed copy of the full script.

• Print and fold character sheets. If playing with two casts, print two copies.

The Day of the Larp

• Prepare the space by taping the floor and writing on it with marker, using the diagram in the script

Step 2: Prepare the Players (1 hr) Explanations (10 min)

• Play the bell and explain how to get quiet • Explain the structure of the exercise.

Students will play a character and switch characters regularly.

Get the Students Physically Comfortable (10 min)

• Reception Line Exercise — shaking hands in a continuous line.

• Speed Hand-Shaking Exercise — shake everyone’s hands in 2 mins. 1 min. 30 seconds.

15 seconds. 5 seconds.

How to Larp (20 min)

• Playing a role. You’re like yourself, but a little different. It’s OK to talk in normal tones of voice. No one will judge your acting ability. Most important is how it feels to play this character.

• Yes and… Introduce the rule of “yes and…” if time, tell a round-robin story.

• Distribute characters. Divide into two casts if necessary.

• Walk them through the character sheet.

• Practice Making Small Talk: - Ask them to walk around the room and explore the space.

- Ask them to think about how their character walks - When you ring the bell they will find a buddy and talk to their buddy as their character, but as if both of them have just come from a class. What class is their character coming from? Did they enjoy that class? Was it boring or interesting?

- Ring the bell and give them at least 60 seconds to talk.

- Repeat the exercise, but this time ask them meet as if it is noon on the streets of Verona. Where are they coming from? When you ring the bell they will find a buddy and talk about whether they approve of the feud and who is to blame.

Explain Techniques and Rules (10 min)

Have the participants form two lines.

• Practice the fighting technique. One student plays aggressor, the other victim.

Then swap.

• Practice the dancing technique.

• Practice the kissing technique.

• Explain that only Tybalt can uncover who Romeo and Benvolio are.

Show them the Space (3 minutes)

Walk participants through the space and show them the different parts. If playing with two casts, then the two casts can dance together on the floor.

Status Line (5 minutes)

As characters to line up from high to low status. Help participants if necessary. Go down the line with character names.

Dry Runs (15 minutes)

Play the normal version of the scene, with the facilitator saying what happens and narrating:

• Pantomime. No words, only body language.

• Go Big or Go Home. Everything is way over the top.

Step 3: Variations Play 1-3 variations ending with High Shakespearean Drama (30-90 min).

Switch characters after each set of variations.

Debrief (5+ min)

Thank the players and discuss the experience of larping. Ask them how their experience was and what struck them about the exercise. ◊

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VARIATIONS Normal Version Of The Scene Read out what is about to happen, then give the players at least 30 seconds to pay it out. When you are ready to move to the next number, ring a bell and narrate the next action.

1. Starting places (Where every iteration will begin)

- Romeo, Mercutio, Benvolio talk about love and arrive at the masque together.

- Lady Capulet, the Nurse, and Juliet talk about marriage and Paris in the back room and

arrive and the masque together

- Everyone else is already at the ball. Capulet circulates among the guests and servants

bustle.

2. Upon arrival, Romeo sees Juliet and becomes instantly smitten.

3. Tybalt overhears Romeo’s voice and asks a servant to fetch his rapier. Capulet overhears

and steps in because he doesn’t want violence in his house.

4. Romeo gets Juliet alone, they talk about their mutual love. He kisses her, she kisses him.

5. The Nurse shows up to tell Juliet her mom wants her. Romeo asks who Juliet’s mom is.

It’s Lady Capulet. (Dum dum DUMMM)

6. Benvolio drags Romeo out of the feast.

7. Juliet asks the Nurse who Romeo is. The Nurse asks a servant. He’s a Montague. (Dum

dum DUMMMM)

Variation 1: Violence & Peace Play the normal version of the scene, then play it these two ways, for contrast:

Let's Be Reasonable

What would happen if Tybalt, Romeo, Juliet, and Lady Capulet all swore to be reasonable human beings? Give scarves to these players. In this scene, these characters have their extreme tendencies tamped down. Tybalt won’t be mad enough to kill Romeo, though he might still complain a bit to Capulet. Romeo and Juliet will like each other, but won’t burn with superhuman passion. Lady Capulet will prefer Paris as a future son-in-law, but won’t drive her daughter to marry him at all costs.

A Hair Trigger

Before the scene starts, ask all characters to be extremely unreasonable. The players can choose whether their character will have a hair trigger to lust or a hair trigger to rage.

Discussion Questions: Did these two versions of the scene change from Shakespeare’s original version? How? Would the play have ended the same way? Would it have been as interesting? Why or why not?

Variation 2: Lady Capulet & Tybalt Play the normal version of the scene, then play it these two ways, for contrast:

Lady Capulet Knows Best

Juliet wears a scarf to show she is behaving differently from normal. All other characters play their roles normally. In this variation, Juliet will obey her mother at all costs, trying to find a way to fall in love with Paris, even if her heart still desires Romeo.

Tybalt Is Not Stopped

In this variation, Lord Capulet wears a scarf to show he is behaving differently from normal. All other characters play their roles normally. In this variation, Tybalt overhears Romeo’s voice and when he calls for his rapier Lord Capulet does not stop him.

Discussion Questions: Does this change your view of how important Tybalt and Lady Capulet are to the plot of the play? In what ways would it change the end of the play?

Variation 3: Fate & Chance Play the normal version of the scene, then play it these two ways, for contrast:

It’s Fate

Romeo and Juliet’s love—and all that comes from it—is fated true love. This iteration underscores the fate theme, dialing it up to 11. It’s written into Romeo’s character, yes, but what if all the characters felt similarly?

Each character has had a funny feeling about this party. For example:

• Romeo believes that this party will determine the course of his life, and that it might lead

to his downfall.

• Lady Capulet believes that she is fated to lose her child forever at this party.

• Juliet believes she is fated to meet her one true love.

• Prince Escalus believes he is fated to finally end the violence.

• Other characters should take a moment to incorporate the fate theme into their play.

It may be convenient to discuss the Queen Mab speech in conjunction with this scene.

It’s Chance

This scene explores the possibility that Romeo and Juliet’s love is purely chance. In this scene, each cast must work together to ensure that Romeo and Juliet never have the opportunity to look at each other, and thus, do not fall in love or kiss.

Discussion Questions: Did these two versions of the scene change from Shakespeare’s original version? How? Would the play have ended the same way? Would it have been as interesting? Why or why not?

Variation 4: Societal Roles Play the normal version of the scene, then play it these two ways, for contrast:

Men Rule

Instruct the male characters to interrupt and ignore the female characters. Instruct the female characters to behave passively and accept this.

Empowered Women

Instruct the female characters to stick up for themselves and to try to get the happiest ending for their characters. Instruct the male characters to lean back and give the female characters space to talk and express their desires.

Discussion Questions: What changed between these two versions? How did it impact the action?

Last Variation: High Shakespearean Drama Larp works best when you end on a high note. Ask the participants to play the scene one last time, doing their best Overwrought Shakespearean Actor, and to dial up the intensity to soapopera levels of drama.

At the end, don’t forget to debrief. Ask the students about their experiences, what worked for them, and what they will take with them from this experience. ◊

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KEYWORDS Melancholy In love with love

FAMILY Benvolio

FRIENDS Mercutio

ENEMIES The Capulets

1

ROMEO

of house Montague You would do anything for love, particularly for the divine Rosaline.

DURING ORDINARY VERSIONS See Juliet and fall instantly in love with her.

Arrange for Tybalt to overhear you and recognize your voice

Ask the nurse who Juliet’s mother is.

Her beauty! Her grace! Her innocence!

Talk to Juliet and find a way to take her to the stairwell and kiss her. If at all possible, try to use the line at the top of this sheet when you do.

That is, until you see Juliet at the party.

She’s the most compelling creature you’ve ever seen.

You must find a way to talk to her, alone of course, and if you do, you may not be able to prevent yourself from kissing her.

Let Benvolio drag you away when it is time to go.

DURING ALTERED VERSIONS If called for, play your character slightly differently, doing whatever they would do in this new situation.

Depending on the variation, it may not make sense to perform all your usual actions.

ROMEO STARTING POSITION: Outside Capulet’s mansion, talking about your love for Rosaline with Mercutio and Benvolio.

“O, then, dear saint, let lips do what hands do.”

KEYWORDS Pragmatic Follows the rules Peacemaker

FAMILY Romeo

FRIENDS Mercutio

ENEMIES The Capulets

BENVOLIO of house Montague

You’re a good, god-fearing Montague, but this feud between your family and the Capulets has to stop.

You’re tired of living in a war zone, and just want to be alone with your books.

You’re here to help keep your cousin Romeo out of trouble, and to prevent Mercutio from making a scene.

But you are also quite fond of dancing and like to talk with intelligent lords and ladies, so it’s possible you’ll be distracted.

You’re curious as to about why Romeo is so keen on Rosaline, and will try to talk to her to understand why.

2

DURING ORDINARY VERSIONS Talk to Rosaline and try to figure out why Romeo is so into her.

If you get bored, either dance or talk to the nobles, while enjoying the fact that most of them don’t know you’re a Montague!

After the Nurse drags Juliet away from the stairwell and Romeo asks the Nurse who Juliet’s mom is, talk to Romeo and drag him out of the party. Use your line in this conversation if at all possible.

DURING ALTERED VERSIONS If called for, play your character slightly differently, doing whatever they would do in this new situation.

Depending on the variation, it may not make sense to perform all your usual actions.

BENVOLIO STARTING POSITION: Outside Capulet’s mansion with Mercutio, trying to talk Romeo down from attending this party.

“Tell me in sadness, who is it that you love.”

KEYWORDS Romantic Innocent Impulsive

FAMILY Lord Capulet Lady Capulet Tybalt Rosaline

FRIENDS Nurse Rosaline

ENEMIES None

JULIET

of house Capulet You’re a young, sheltered girl who has lived most of her life under the protection of your Nurse, who is your constant companion. Your mother loves you—she must, right?—but she is distant and cold, and only talks about making a good marriage for the family.

Both our Nurse and mother are keen on this Paris guy, and you feel pressure to marry. But you have read a lot of novels about the burning fire of romance, and men on white horses. Your love, once given, is eternal. When you marry, you want it to be for love!

DURING ORDINARY VERSIONS Fall instantly in love with Romeo when you see him. Tolerate Paris, but only because you have to. If you get bored, dance.

Sneak off to the stairwell with Romeo and after he kisses you, kiss him back.

After the Nurse interrupts you, find an opportunity to ask her about Romeo’s family, then use your line if at all possible.

DURING ALTERED VERSIONS If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

Once you see the dashing Romeo at this party, you will fall instantly in love with him. Try to be alone with him, if you can. And if he... gulp... were to kiss you, well, you’d probably have to kiss him back.

JULIET STARTING POSITION: Preparing for the party with your mother and the Nurse, while discussing Paris.

“My only love sprung from my only hate!

Too early seen unknown, and known too late!”

3

KEYWORDS Jokester Motherly Decorous

FAMILY Well... Juliet is like a daughter to you.

FRIENDS The Capulets Paris The Servants Sampson and Peter (Particularly Peter)

ENEMIES Anyone who tries to hurt your darling charge

4

NURSE

of house Capulet You weren’t raised to have fancy airs, but now that you’re in this noble household, you’re doing your best to mimic their attitude and manners, at least while you’re on the clock.

At heart you’re a bawdy dame who likes to joke around. But your love for Juliet is no joke—she’s like a daughter to you. Lady Capulet thinks Paris would be a good match for Juliet.

You know your place—you’re contractually obligated to agree with your mistress. But when it comes right down to it, you’re on Juliet’s side and would do anything to help her get what she wants.

DURING ORDINARY VERSIONS After Romeo and Juliet sneak off, ask the servants Sampson or Peter are about Romeo’s parentage. (If the servants are not present, just pretend you’ve done this).

Make sure to interrupt Romeo and Juliet in the stairwell after they have kissed. Tell Juliet her mom wants her. Answer Romeo and Juliet’s questions about each other’s families truthfully.

If possible, use your line to do this.

Help be a gracious host, talking to Friar Laurence, Rosaline, and helping the servants if needed. If you get bored, dance.

DURING ALTERED VERSIONS If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

NURSE STARTING POSITION: Preparing for the party with Juliet and Lady Capulet, while discussing Paris.

“Madam, your mother craves a word with you.”

KEYWORDS Status-driven Cold Officious

FAMILY Lord Capulet Tybalt Juliet Rosaline

FRIENDS Paris, those who agree with the match

ENEMIES Anyone who disrupts the perfect marriage you’re arranging.

5

LADY CAPULET of house Capulet

This party is a very important event for your family. The most charming and connected people in town are here, but more importantly, so is Paris, a nobleman who has expressed interest in your daughter Juliet.

At 13, Juliet is slightly younger than you were when you gave birth to her. Ah. To be thirteen again, and engaged to a man twice your age.

Sigh. But that’s how things are done.

Make sure Paris shows himself to best advantage, and get your daughter to consent to the match, whatever it takes.

DURING ORDINARY VERSIONS Use your line when you talk to Juliet during starting positions.

Talk to Paris and make sure he likes you and Juliet. If possible, find a way to make Paris and Juliet dance. Be distracted at the crucial moment when Juliet is trying to sneak off with Romeo.

Play the gracious hostess, making sure to talk to each of the noble guests. If you get bored, dance.

DURING ALTERED VERSIONS If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

LADY CAPULET STARTING POSITION: Preparing for the party with Juliet and the Nurse, while discussing Paris.

“Speak briefly, can you like of Paris’ Love?”

KEYWORDS Hospitable Proud Vindictive when Provoked

FAMILY Lady Capulet Tybalt Juliet Rosaline

FRIENDS Everyone here, of course

ENEMIES Anyone who disrupts your perfect feast

6

LORD CAPULET of house Capulet

You are the host with the most! Make sure all the guests have a good time, eating, singing, and dancing, and that the servants distribute the food and wine properly. Or else.

There’s also the matter of your daughter, Juliet.

Should she marry Paris? You agree with your wife that it would be a good match, but your little girl is still only 13, so he better impress you (and her) with his comportment.

Keep an eye on your hot-headed nephew Tybalt.

This party will be perfect, and nothing will ruin it.

DURING ORDINARY VERSIONS Talk to Lady Capulet or Juliet about making the best impression on Paris. Assess Paris as a potential son-in-law.

When Tybalt overhears Romeo, stop him from making a scene or killing anyone. If possible, use your line during this exchange.

Make sure you are distracted enough that Juliet will be able to slip off to the stairwell with Romeo.

DURING ALTERED VERSIONS If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

LORD CAPULET STARTING POSITION: At the party, making sure all your guests feel comfortable and welcome.

“You’ll make a mutiny among my guests!”

KEYWORDS

TYBALT

You are a loyal Capulet, and you hate all Montagues. Your uncle, Lord Capulet, is throwing this fabulous party to strengthen the family’s political position and ensure you can get justice from a biased Prince.

Lady Capulet Lord Capulet Juliet Rosaline

of house Capulet

Hot-Headed Vengeful

FAMILY

FRIENDS The family honor and beyond!

ENEMIES The Gutless Montagues

7

You are here to see that your family honor is maintained and to defend it from any slight.

Make sure that no one does anything outside the bounds of propriety. At an appropriate point in the variation, arrange to overhear Romeo, and recognize him as a Montague!

DURING ORDINARY VERSIONS Find Escalus (the Prince) or Paris and help them understand why the Capulets are in the right.

Be aware of where Romeo’s player is. Early on, you should overhear him. Use your line to ask a servant to fetch your weapon. Make sure your father overhears you.

Let your father, Lord Capulet, hold you back from killing Romeo.

DURING ALTERED VERSIONS If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

TYBALT

“This, by his voice, should be a Montague.

Fetch me my rapier, boy.”

STARTING POSITION: At the party, entertaining guests.

KEYWORDS Chivalrous Polite Honorable

FAMILY The Prince Mercutio

FRIENDS Any man who proves himself honorable.

ENEMIES Anyone who breaks the bonds of politeness.

PARIS

DURING ORDINARY VERSIONS

If they balk, lean on the suggestion that they could really use allies in the Prince’s house as part of this feud. Use your line when you talk to them.

You’re a kinsman of the prince and love to party with him. You also think Juliet is a lovely girl, and marrying her would cement the ties between your house and the Capulets.

Talk to Lord and Lady Capulet and try to prove to them that you would be the best son-in law.

of house Escalus

At this masquerade, you’ll need to impress her parents—her father in particular—with your manners and accomplishments.

Juliet will do what her parents tell her to, of course, but it’d be best to make her fall in love with you.

Try to woo her in a properly-chaperoned setting.

8

Talk to Juliet and dance with her, but be as boring as possible when you do so. If you get bored and Juliet’s not around, either make a show of sulking, or dance with someone else while throwing meaningful looks at her parents.

DURING ALTERED VERSIONS If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

PARIS “But now, my lord, what say you to my suit?”

STARTING POSITION: At the party, trying to impress your future Father-in-Law.

KEYWORDS Sarcastic Clever Hot-Headed Loyal

FAMILY The Prince Paris

FRIEND Romeo

ENEMIES Boredom

MERCUTIO of house Escalus

Your friendship with Romeo is the stuff of legend.

Seriously. He’s the best of best friends, your bro, your sidekick, and your confidant.

You’d do anything to help him get what he wants.

Now, though, he’s snuck into this party uninvited. You were invited though, so the best thing you can do to help him is act normal—flirt with the ladies, drink with the gentlemen, and dance till your feet fall off.

Log some quality time with your kinsman Paris, but keep an eye on Romeo to make sure he doesn’t do anything stupid with that Rosaline girl.

DURING ORDINARY VERSIONS Try to use your line during your starting place conversation with Romeo and Benvolio.

You’re a party animal. Talk to Paris to see what’s new with him, ask the servants to bring you food and drink, and make sure to dance lots.

If Romeo seems like he’s in need of a wingman to distract, say, Juliet’s parents, you’re the man he needs.

DURING ALTERED VERSIONS If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

Love is making a fool of Romeo—make sure to tell him this at the beginning of the scene.

MERCUTIO STARTING POSITION: Outside Capulet’s mansion with Benvolio and Romeo, making fun of Romeo for his crush on Rosaline.

9

“If love be rough with you, be rough with love; Prick love for pricking, and you beat love down.”

KEYWORDS Authority Party Animal Peacemaker

FAMILY Mercutio Paris

FRIENDS Your loyal subjects who make you look good.

Anyone doing a good job of partying.

ENEMIES Anyone who breaks the peace.

Sourpusses who aren’t having a good time.

10

ESCALUS Prince of Verona

You represent law and justice in this town, and work to swiftly settle any disputes that arise.

The generations-long feud between the Montagues and Capulets frankly makes you look bad—as if you cannot keep the peace, including this week’s tiff on the street.

You have come to this ball to talk to Lord Capulet about what it would take to mend the rift between the two families. At least that’s what you tell yourself.

You are also a bit too fond of partying with your kinsmen Mercutio and Paris, and Lord Capulet does have very fine taste in food and wine…

DURING ORDINARY VERSIONS Encourage Lord and Lady Capulet to make peace with the Montagues.

If they are resistant, use your line to try to threaten them into going along with you.

Catch up with Mercutio and be a party animal.

Ask the servants for food and drink, and dance, dance, dance.

DURING ALTERED VERSIONS If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

ESCALUS Prince of Verona

“If ever you disturb our streets again, Your lives shall pay the forfeit of the peace.”

STARTING POSITION: At the party, being gracious to all the guests.

KEYWORDS Pious Chaste Intelligent

FAMILY Your Uncle and Aunt Lord and Lady Capulet Your cousin Juliet Tybalt

FRIENDS Capulet’s servant Sampson often hangs around you.

Juliet is nice, but has her head in the clouds.

Friar Lawrence might be able to help you enter the covent.

ROSALINE of house Capulet

You’ve taken a vow of chastity to maintain your purity and your devotion to the Lord, and because getting married does not interest you.

Spending the rest of your life shackled to some older man you have to obey, and playing nursemaid to toddlers sounds terrible. You’d rather spend those years studying fascinating books at the convent and being useful to the poor.

You will try to have a good time at this party without eating, drinking, dancing, reading, or kissing anyone.

Sigh. Parties can be quite dreadful really.

ENEMIES

DURING ORDINARY VERSIONS If you get bored, sigh loudly. If you get really bored, pretend to read. If you get really really bored, give in, and dance.

Make eyes at Romeo from across the room.

Talk to Friar Laurence, the servants, or any of the sinful young nobles so fond of partying.

Make sure to inject plenty of suggestions about proper morals into any conversation you’re part of.

DURING ALTERED VERSIONS If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

Licentiousness in all its forms Marriage

ROSALINE STARTING POSITION: At the party, trying to enjoy yourself.

11

Rosaline does not have any lines, nor any character description in Shakespeare’s original text.

This character description is imagined. What is clear from the text is that Capulet invited her to the masque. For the purposes of this larp, you can imagine her into the scene.

KEYWORDS Discretion Politeness Hard Worker

FAMILY Peter

FRIENDS Rosaline The Nurse

ENEMIES Anyone trying to harm your family.

Peter, Capulet’s assistant butler.

SAMPSON

Capulet’s Head Butler Your lot in life is to serve your master, Lord Capulet.

Make sure everyone at his party has something to drink and eat. (If you don’t have party props, mime this!).

Lord Capulet has the best servants. And you make sure that those servants glide through the background, subtly keeping the wine glasses full, coughing at the appropriate moment and using meaningful glances to communicate one’s feelings.

If something goes wrong—say, if you notice that a Montague has showed up—you’ll do your best to hide it, for fear of your master’s temper. Try to overhear as much as you can to help your master.

You find Rosaline admirable, and always serve her first.

12

DURING ORDINARY VERSIONS Bring actual or mimed snacks and drinks to all the participants. If you hear any useful gossip, let Lord Capulet know. Try to hang around Rosaline as much as possible and engage her in conversation.

Arrange to be nearby when Tybalt overhears Romeo.

If you like, you can use your line to refuse to do so. If Capulet doesn’t overhear Tybalt’s request, tell him Develop your rivalry with Peter. Perhaps you like to order him around, and that makes him mad. Perhaps when you hang out with Rosaline, he has the opportunity to show you up. Make the conflict interesting. If Peter is not in play, then arrange to be by the Nurse after she breaks up Romeo and Juliet’s kiss-fest, and answer her truthfully about Romeo’s family.

DURING ALTERED VERSIONS If called for, play your character slightly differently, doing whatever they would do in this new situation.

Depending on the variation, it may not make sense to perform all your usual actions.

SAMPSON

“Now I’ll tell you without asking: my master is the great rich Capulet.”

STARTING POSITION: At the party, making sure guests are comfortable and fed.

KEYWORDS Kind-Hearted Civic-Minded Optimistic

FAMILY We’re all god’s creatures, aren’t we?

FRIENDS The Prince Anyone else who seems interested in bringing this terrible feud to an end, no matter the cost Rosaline, for her piety.

ENEMIES Anyone who breaks the peace or contributes to this horrible feud.

FRIAR LAURENCE of house Capulet

You’re a humble Franciscan friar. Though some wouldn’t consider it seemly for a catholic mystic like you to attend a party like this, you think it’s a good opportunity to try to talk some sense into Capulet, and any Montague dumb enough to show up.

You’ve heard that Rosaline might be interested in entering the church—it’s a heavy decision for her to weigh, when she could serve god by becoming a mother.

The Prince shares your peaceful goals, but you suspect that is for his own glory and not god’s.

DURING ORDINARY VERSIONS Try to forge peace. If you get bored, dance.

After Tybalt overhears Romeo, find Benvolio and talk to him about the feud. Talk to Lord and Lady Capulet about settling this.

Advise Rosaline on entering the convent. It’s OK if you don’t know specifics about this out of game, just wing it!

DURING ALTERED VERSIONS If called for, play your character slightly differently, doing whatever they would do in this new situation. Depending on the variation, it may not make sense to perform all your usual actions.

FRIAR LAURENCE STARTING POSITION: At the party, trying to find someone interesting to talk to.

13

“These violent delights have violent ends And in their triumph die, like fire and powder.”

KEYWORDS Ambitious Bold Loves to Dance

FAMILY Valentine/Valentina, your rich and somewhat sappy cousin.

FRIENDS You’re here to make (powerful) friends!

And dance!

ENEMIES Anyone who gets in the way of a favorable match.

HELENA Noble Partygoer

Your parents don’t have much of an estate, which makes finding an attractive, powerful, and rich spouse difficult. You despair of finding a partner. Still, you are ambitious and hope to sweet talk your way into a favorable marriage.

Try to ingratiate yourself with anyone who has more power than you do—that is, anyone here who is not a servant.

And of course, look after your lucky, and much-richer cousin Valentine/Valentina. They might help lure in an appropriate new partner.

DURING ORDINARY VERSIONS At the beginning of the scene, pick a character for yours to fall deeply in love with. Alternate between talking to that character, dancing, and advising Valentine/Valentina on their love life.

If you aren’t sure who to fall in love with, talk to some nobles until you find one you think would be a suitable match.

When in doubt, find a new partner and dance.

DURING ALTERED VERSIONS If called for, play your character slightly differently, doing whatever they would do in this new situation.

Depending on the variation, it may not make sense to perform all your usual actions.

You show to best advantage while dancing. So make sure to dance!

14

HELENA

Early in Shakespeare’s original text, Capulet tells a servant to invite the “lively Helena” to the evening’s ball. Helena is not named again in the text, but for the purposes of this larp, they attend the ball and try their best to find a suitable marriage match.

STARTING POSITION: At the party, either dancing, or trying to find a dance partner.

KEYWORDS Ambitious Bold Loves to Dance

FAMILY Valentine/Valentina, your rich and somewhat sappy cousin.

FRIENDS You’re here to make (powerful) friends!

And dance!

ENEMIES Anyone who gets in the way of a favorable match.

HARROLD Noble Partygoer

Your parents don’t have much of an estate, which makes finding an attractive, powerful, and rich spouse difficult. You despair of finding a partner. Still, you are ambitious and hope to sweet talk your way into a favorable marriage.

Try to ingratiate yourself with anyone who has more power than you do—that is, anyone here who is not a servant.

And of course, look after your lucky, and much-richer cousin Valentine/Valentina. They might help lure in an appropriate new partner.

DURING ORDINARY VERSIONS At the beginning of the scene, pick a character for yours to fall deeply in love with. Alternate between talking to that character, dancing, and advising Valentine/Valentina on their love life.

If you aren’t sure who to fall in love with, talk to some nobles until you find one you think would be a suitable match.

When in doubt, find a new partner and dance.

DURING ALTERED VERSIONS If called for, play your character slightly differently, doing whatever they would do in this new situation.

Depending on the variation, it may not make sense to perform all your usual actions.

You show to best advantage while dancing. So make sure to dance!

14

HARROLD

Early in Shakespeare’s original text, Capulet tells a servant to invite the “lively Helena” to the evening’s ball. Helena is not named again in the text, but for the purposes of this larp, they attend the ball and try their best to find a suitable marriage match.

STARTING POSITION: At the party, either dancing, or trying to find a dance partner.

KEYWORDS Jealous Conniving Status-Conscious

FAMILY Sampson

FRIENDS The Nurse

ENEMIES Sampson, Capulet’s Head Butler.

Anyone trying to harm Lady Capulet’s goals for her daughter.

PETER

Capulet’s Assistant Butler Your master, Lord Capulet, doesn’t appreciate his wife as much as he should. Your lot in life is to help your mistress be a stunning success.

This means ensuring that her glass is full, that she is informed of any relevant gossip, and that you keep an eye on her daughter Juliet, whose head is full of romantic nonsense.

In addition, you’re jealous of your kinsman Sampson—you’d like to move up from assistant to head butler, and if you can show him up by performing his duties better than he can, you will.

You’re friendly with the Nurse, because you know she’s loyal to Lady Capulet, and you’ll try to help her out if you can.

15

DURING ORDINARY VERSIONS Bring actual or mimed snacks to participants. If you hear any gossip along the way, let Lady Capulet know. Use your line to fetch her, the Nurse and Juliet from their starting places if they are being slow to enter the scene.

Arrange to be nearby when the Nurse discovers Romeo and Juliet in the stairwell, so that when she asks about Romeo’s family, you can tell her.

Talk to Rosaline to make Sampson jealous Try to develop your rivalry with Sampson. Become irate if he orders you around. Take advantage of his crush on Rosaline to show him up. Be a better butler than he is!

DURING ALTERED VERSIONS If called for, play your character slightly differently, doing whatever they would do in this new situation.

Depending on the variation, it may not make sense to perform all your usual actions.

PETER

“You are looked for and called for, asked for and sought for, in the great chamber.”

STARTING POSITION: At the party, making sure guests are comfortable and fed.

KEYWORDS Kind A bit sappy Pushy in getting others to dance with you

FAMILY Helena/Harrold, your cousin and partner in crime

FRIENDS Anyone who is worthy of love, according to your sweet and genuine affections.

ENEMIES

VALENTINE Noble Partygoer

You are a person capable of deep love and of deep passion. You’re here to try to find true love—with someone who matches the high status of you and your family.

Try to get another gently-born person to introduce you to someone new. Commiserate with your poor cousin Helena/Harrold.

And if dancing with your crush doesn’t lead to true love, you don’t know what will!

Anyone who behaves in a mean fashion.

16

DURING ORDINARY VERSIONS At the beginning of the scene, pick a non-servant character for yours to fall deeply in love with.

Alternate between talking to that character, dancing, and advising Helena/Harold on their love life.

If you aren’t sure who to fall in love with, talk to some nobles until you find one you think would be a suitable match.

When in doubt, find a new partner and dance.

DURING ALTERED VERSIONS If called for, play your character slightly differently, doing whatever they would do in this new situation.

Depending on the variation, it may not make sense to perform all your usual actions.

VALENTINE

Early in Shakespeare’s original text, Capulet tells a servant to invite Valentine to the evening’s ball.

Valentine is not named again in the text, but for the purposes of this larp, they attend the ball and try their best to find a suitable marriage match.

STARTING POSITION: At the party, either dancing, or trying to find a dance partner.

KEYWORDS Kind A bit sappy Pushy in getting others to dance with you

FAMILY Helena/Harrold, your cousin and partner in crime

FRIENDS Anyone who is worthy of love, according to your sweet and genuine affections.

ENEMIES

VALENTINA Noble Partygoer

You are a person capable of deep love and of deep passion. You’re here to try to find true love—with someone who matches the high status of you and your family.

Try to get another gently-born person to introduce you to someone new. Commiserate with your poor cousin Helena/Harrold.

And if dancing with your crush doesn’t lead to true love, you don’t know what will!

Anyone who behaves in a mean fashion.

16

DURING ORDINARY VERSIONS At the beginning of the scene, pick a non-servant character for yours to fall deeply in love with.

Alternate between talking to that character, dancing, and advising Helena/Harold on their love life.

If you aren’t sure who to fall in love with, talk to some nobles until you find one you think would be a suitable match.

When in doubt, find a new partner and dance.

DURING ALTERED VERSIONS If called for, play your character slightly differently, doing whatever they would do in this new situation.

Depending on the variation, it may not make sense to perform all your usual actions.

VALENTINA

Early in Shakespeare’s original text, Capulet tells a servant to invite Valentine to the evening’s ball.

Valentine is not named again in the text, but for the purposes of this larp, they attend the ball and try their best to find a suitable marriage match.

STARTING POSITION: At the party, either dancing, or trying to find a dance partner.