When actors begin practicing the balcony scene from Romeo and Juliet, a certain silence descends upon the rehearsal space. Everyone believes they are familiar with the lines. This version, however, is distinct. The friction of two languages attempting to meet halfway is something the play has seldom carried before, as one actor speaks in Welsh and the other in English.
The point is that friction. Shakespeare’s Globe and Theatr Cymru have collaborated to create a whole production around it. Romeo and Juliet, directed by Steffan Donnelly, who was just appointed an Associate Artist at the Globe, divides the conflict along a linguistic fault line by placing the Montagues in Welsh and the Capulets in English. It begins at the Sherman Theatre in Cardiff, travels throughout Wales, and then makes its way to London for what are thought to be the first Welsh-language shows ever presented at the Sam Wanamaker Playhouse. Perhaps a minor detail, but not really. Shakespeare has appeared on The Globe in numerous languages over the years. Somehow, Cymraeg was not among them. Up until now.
Instead of being ostentatious, the casting seems purposeful. Romeo is portrayed by Steffan Cennydd, a Welsh native. In a culture that frequently demands actors to project complete fluency, Isabella Colby Browne, who plays Juliet, is honest about being a Welsh learner rather than a native speaker. She said, “I’m proud to be a learner,” and asked her coworkers to point out anything that seemed strange. Vulnerability might end up playing the part. After all, Juliet is supposed to be aiming for something that she still lacks.
The storytelling is shaped by the conceit in subtly radical ways. Juliet starts out speaking English. Then, gradually and almost unnoticeably, she begins to speak Welsh, a word here, a phrase there, mostly when she’s close to Romeo. She is thinking in Cymraeg by the end. In a way, the love story turns into a language story, and the language story turns into a sense of community. Reading about that will probably not be the same as seeing it happen on stage, particularly in the candlelit intimacy of the Sam Wanamaker.
In this version, Cennydd highlights a line that gains new significance. “Ai dyna iaith dy galon?”—literally, “Is that your heart’s language?”—replaces Juliet’s “Speakest thou from the heart?” It’s a minor translation change, but it makes the play more engaging. Romeo’s intentions are not the only question. It depends on whether he is using the appropriate language.
Elin Steele is in charge of the production’s set and costumes; Dyfan Jones is the composer; Ceri James is in charge of lighting; Catherine Alexander is in charge of movement; Nia Lynn is the voice director; and Ruth Cooper-Brown is in charge of intimacy and fights. Owain Gwynn plays Mercutio, Scott Gutteridge plays Tybalt, Llinor ap Gwynedd plays the Nurse, Eiry Thomas plays Friar Lawrence, and Jonathan Nefydd and Michelle McTernan play the Capulets. The supporting cast is drawn from all over Wales. With bilingual open captions throughout the Welsh tour, a BSL performance in Cardiff, Welsh-language audio description, and closed captions at the Globe via Theatr Cymru’s Sibrwd app, accessibility is integrated rather than added.
Shakespeare in two languages is not particularly new. The canon was presented in dozens of languages during the Globe’s Globe to Globe festival in 2012. However, this seems more like an argument that Cymraeg should have a regular place at the table where Shakespeare is reimagined than a singular curiosity. Cennydd has expressed a desire for people outside of Wales to realize that Welsh is a language spoken by people who live and work there on a daily basis.
It’s still unclear if London audiences fully understand that argument. Even with captions, some people won’t pay attention to every word. Sitting inside a love story where comprehension must be earned, line by line, language by language, may be the experience, though.
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