Star-Cross’d Lovers: a musical theatre Romeo and Juliet

For more information on the production, visit the Star-Cross’d Lovers website!
For the PDF Vocal Score: Star-Cross’d Lovers Vocal Score (Singing Actors and Piano)

Experience the passion, the intrigue, the romance, and—of course—the music of
Star-Cross’d Lovers: a musical theatre Romeo and Juliet!

Star-Cross’d Lovers | Full YouTube Playlist

Star-Cross’d Lovers: a musical theatre Romeo and Juliet (2019) – 150 min.
Singing Actors and Sinfonietta Ensemble (18 players)[fl(=picc).ob(=eh).Acl(=bcl).asax.bn(=cbn). / Ctpt(=fgh).hn.tbn.tba. / 2perc. / hrp.pno(=cel). / 2vln.vla.vlc.cb.] Star-Cross’d Lovers synopsis, text, Orchestral Score

Alternate version for Singing Actors and Piano (2008, revised 2019) – 150 min.
Star-Cross’d Lovers Vocal Score (Singing Actors and Piano)

Excerpts and Scenes
Arias
Juliet (light mezzo):
Wherefore are thou Romeo? VS p. I,52.,
Dost thou love me?VS p. I,55,
Come, gentle night VS p.III,4,
Rather than marry Paris VS p.III,44,
Where is my love? VS p.III,69

Romeo (tenor/baritone):
This love feel I VS p.I, 9,
But soft, what light? VS p. I,51,
Banishment VS p.III,14,
I still will stay with thee VS p.III,66.

Nurse (heavy mezzo):
She shall be fourteen! VS p. I,16

Mercutio (high baritone):
Queen Mab VS p. I,33

Friar Laurence (baritone):
The Grey-Eyed Morn VS p.II,1
The Potion VS p. III, 47

Prince (dramatic tenor):
Where be these enemies? VS p.III,72

Extended Dramatic Duets:
Romeo and Juliet: Balcony VS p.I,51, Ball (first kiss), VS p. I,44 Daybreak Adieu VS p.III,21
Juliet and Nurse: What news? VS p.II,26, Tragic turn VS p.III,6
Juliet and Friar Laurence: Past hope? VS p.III,41
Juliet and Lady Capulet (dramatic soprano): A Sudden Day of Joy! VS p.III,29
Romeo and Friar Laurence: Marry us today!  VS p.II,3
Romeo and Nurse: The messenger! VS p.II,21

Libretto
Libretto (Free Download)

Program Note

While the idea of yet another version of Romeo and Juliet may seem something less than “cutting edge,” I have discovered that the familiarity of the story and the iconic power of the poetic text provide a sturdy launch pad for a new kind of intertwining of words, drama, and music. In this re-invention of the music-theatre medium, the musical materials must be artful enough to respond to the characterizations and dramatic interactions of Shakespeare’s text, but also simple enough to allow the singing actors a naturalness that communicates with an audience on a personal, human-scaled level. The glories of Shakespeare’s poetry and the vitality of his dramatic constructions take on a special resonance when song and music is worked into the tapestry.

All of the “lyrics” are Shakespeare’s texts, abridged from five acts to three. The vocal writing for the leading characters is created in a tuneful style appropriate for young, clear, not particularly large voices, and a priority is placed on making the language readily intelligible and dramatically compelling.

My goal has been to capture in a music-theatre work the kind of immediacy one can find only in small theatre productions with effective but minimal sets and lighting, ingenious stage direction and charismatic actors. The tuneful prosody of the vocal lines and the musical shaping of the dramatic events allowed the very talented cast and production team of the 2008 BPP production to create a performance that involved, delighted and moved its audience.

Many of those in the sold-out audiences commented on how this production allowed them to appreciate Shakespeare in a remarkably fresh and thoroughly engaging way. Critic Peter Jacobi wrote in the Bloomington Herald-Times, “The score holds profoundly powerful touches that seep into the play’s atmosphere. At those moments, and they come along abundantly, a viewer/listener is likely to be startled into a fresh take on an old and familiar tale. Freund’s love for and knowledge of Shakespeare’s masterpiece is much in evidence, and that devotional combine has been wedded to the composer’s vividly creative imagination. As a result, one can enjoy masterful, occasionally even memorable, scenes: a dreamy and steamy balcony encounter fueled by sweeps of musical passion; the marriage in Friar Laurence’s cell; the fury unleashed by Juliet’s parents when she refuses to marry Paris; the lovers in final embrace after Romeo has been banished, and the whole denouement leading to the lovers’ suicides. Those final scenes become close to spine-tingling, thanks to Shakespeare, of course, but also to music that heightens tension while not getting in the way of the ever mounting tragedy.”