STC: Hamlet (2007), Lorenzaccio (title roles). NEW YORK: Broadway: The Goat, or Who is Sylvia? ; Taboo (Drama Desk Award nomination); Roundabout Theatre Company: Tartuffe ; Off-Broadway: Cherry Lane Theatre: Psycho Therapy ; Theatre for a New Audience: Antony and Cleopatra ; New York Theatre Workshop: Bach at Leipzig ; Daryl Roth Theatre: Manuscript ; MCC Theater: Last Easter ; Signature Theatre Company: Thief River . REGIONAL: Yale Repertory Theatre: Cymbeline (Iachimo), Richard II (title role); Goodman Theatre: Measure for Measure (Lucio), Stage Kiss ; Chicago Shakespeare Theater: Edward II (title role), Henry IV, Parts 1 and 2 (Prince Hal, also at the Royal Shakespeare Company); McCarter Theatre Center: Romeo and Juliet (Romeo), Candida ; Charlotte Repertory Theatre: The Miracle Worker ; Paper Mill Playhouse: The Importance of Being Earnest ; Philadelphia Theatre Company/Kennedy Center: Golden Age ; Eugene O'Neill Theater Center's National Playwrights Conference and the Cape Cod Theatre Project. FILM: Hitch, The Killing Floor, Backseat. TELEVISION: All My Children (ABC, contract role as Zoe), Plainsong (CBS, Hallmark Hall of Fame), Law and Order: Special Victims Unit (NBC), The View (ABC). AWARDS: Recipient of the 2004 Marian Seldes/Garson Kanin Fellowship, and a Beinecke Fellow in 2007 and 2016. TRAINING: The Juilliard School; the University of California, Davis; Guthrie Theater.
* Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers.
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The argument that that Romeo and Juliet is not a classical tragedy gains some credence with the circumstances surrounding the terrible events that occur in Act 3. Though Mercutio and Tybalt's deaths and Romeo's banishment are undoubtedly disastrous, they are avoidable occurrences instead of being mandated by fate - which would be the case in a classical tragedy. Instead, these deaths are the result of an avoidable feud. The dual mortalities occur after the characters randomly run into each other on the street, but the bloodshed is enabled by specific human decisions. Romeo chooses to pursue vengeance on Tybalt, not for a moment considering how his actions will affect his new wife. The emotionally charged circumstances, though tragic, present a choice, not an inevitability. Especially considering how Romeo has avoided violence and aggression thusfar in the play, it is easy to argue that he is largely to blame for the play’s tragic turn.
This essay (written in my first year at uni) focuses on the balcony scene but should help with thinking about the development of the characters and their relationship. If you're talking about Petrarchan conceit, this should help a lot.
Theron Martin, of Anime News Network reviewed the first DVD set, and enjoyed the musical score, but felt the story made use of too many 'saved-at-the-last-moment' scenes.  He noted a drop-off in animation quality in the second half of the series, and was disappointed at the change in the tone of the ending.  He later chose it as one of the best anime series of 2009, citing Gonzo's preservation of the overall tone, and the addition of "great action" scenes.  Bamboo Dong described it as "absolutely wonderful, both aesthetically and also narratively", and praised the reinvention of the tale.  Todd Douglass Jr. described it as "The characters, animation, and story all come together for one heck of an experience", and felt that the love story did not become "too cheesy".  He cautioned that the series' divergence from its source and the fantasy elements involved may make the series not ideal for everyone, but that overall it was a "great series".  Chris Beveridge of Mania noted the addition of characters from Shakespeare's other plays "may either please or annoy the hardcore fans", but enjoyed the adaptation, although he noted it was not particularly "revolutionary or challenging".  He later noted that in the first volume, the use of the fantasy setting was understated but was used more in the second part of the series and enjoyed the "focused" narrative, which he attributes to the "energy and enthusiasm" of the young production team.  Daryl Loomis of DVD Verdict enjoyed the balance between the romance narrative and the action narratives in the first part, describing it as "breezy fare".  He later sums it up by saying, "in spite of its many little faults, it is good, angst-y teenage fun", and that it "doesn't set the world on fire, but there's quite a bit to like about this series". He felt the "wild, logic-defying climax" added to the series, making it feel "less contrived".  Holly Ellingwood of ActiveAnime felt the choice of opening and closing songs was "unusual", as one was an already-existing song, and the other was a rock song which she felt contrasted with the mood and overall score of the anime.  She also praised the English adaptation as it incorporated an older style of language and many more Shakespearean quotes than the Japanese language voice track. 
Enter CAPULET, LADY CAPULET, and PARIS
Things have fall'n out, sir, so unluckily,
That we have had no time to move our daughter:
Look you, she loved her kinsman Tybalt dearly,
And so did I:--Well, we were born to die.
'Tis very late, she'll not come down to-night:
I promise you, but for your company,
I would have been a-bed an hour ago.
PARIS These times of woe afford no time to woo.
Madam, good night: commend me to your daughter.
LADY CAPULET I will, and know her mind early to-morrow;
To-night she is mew'd up to her heaviness.
CAPULET Sir Paris, I will make a desperate tender
Of my child's love: I think she will be ruled
In all respects by me; nay, more, I doubt it not.
Wife, go you to her ere you go to bed;
Acquaint her here of my son Paris' love;
And bid her, mark you me, on Wednesday next--
But, soft! what day is this?
PARIS Monday, my lord,
CAPULET Monday! ha, ha! Well, Wednesday is too soon,
O' Thursday let it be: o' Thursday, tell her,
She shall be married to this noble earl.
Will you be ready? do you like this haste?
We'll keep no great ado,--a friend or two;
For, hark you, Tybalt being slain so late,
It may be thought we held him carelessly,
Being our kinsman, if we revel much:
Therefore we'll have some half a dozen friends,
And there an end. But what say you to Thursday?
PARIS My lord, I would that Thursday were to-morrow.
CAPULET Well get you gone: o' Thursday be it, then.
Go you to Juliet ere you go to bed,
Prepare her, wife, against this wedding-day.
Farewell, my lord. Light to my chamber, ho!
Afore me! it is so very very late,
That we may call it early by and by.