ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
Lesson
1
Drama activity
Mime
Writing outcome
To write a lonely hearts advert (for Tybalt, Benvolio or Romeo).
2
Improvisation
To write a letter to an ‘agony aunt’s’ advice column (in role
as Romeo), and response from agony aunt.
3
Frozen tableau and
thought tracking
To write a diary entry in role as Romeo
4
Choral reading and
performance
poetry
Improvisation and
hot seating
Improvised
scenes:
interviewing
Conscience alley
Improvisation
Debate
Performance
poetry
Hot seating
Mime
5
6
7
8
9
To write a sonnet on a given theme
To write a persuasive letter in role as Juliet
To write a newspaper article (reporting the fight between the
Montagues and the Capulets).
To write a discursive essay: is it always wrong to lie?
To write a series of rhyming couplets
To write a memoir in role as Friar Lawrence (ten years on)
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
LESSON 1
DRAMA
Use Act 1 Scene 1 as the basis for exploring the three very different personalities we see in Romeo, Tybalt and Benvolio. Begin with
Tybalt who says very little, but we learn a lot from the words he uses in lines 57-58 and 61-63:
Tybalt:
What art thou drawn among these heartless hinds?
Turn thee Benvolio, look upon thy death
Benvolio:
I do but keep the peace. Put up thy sword,
Or manage it to part these men with me.
Tybalt:
What, drawn and talk of peace? I hate the word.
As I hate hell, all Montagues, and thee.
Have at thee, coward.
Warm up: quick fire mime activities. Give children five words from each of Tybalt’s lines e.g. heartless, turn, death, hell, coward. In
small groups children create short mimes which encapsulate these words. Contrast with Benvolio’s phrases.
Main: Using these mimes, children then perform by freezing a ‘big’ mime gesture whilst other pupils read aloud Tybalt and
Benvolio’s lines. Explore use of mime to bring out the strength of their characters.
Move on to line 97 where we hear Benvolio speak of:
‘The fiery Tybalt, with his sword prepared…..breathed defiance… swung about and cut the wind…..hissed in scorn’.
This time, using dramatic music to accompany, give pupils the phrases above and explain they will do a slow motion mime which
portrays Tybalt, as perceived by Benvolio. Again, encourage ‘big’, exaggerated gestures which reveal his nature.
Contrast the above with Romeo’s ‘dreamy’ lines (from line 176 onwards) which reveal his sensitive nature, and melancholic
tendencies. In this section he is describing the effects upon him of the love he feels for Rosaline. Explore how the words and
phrases he uses can inspire a very different set of miming actions and gestures.
Again, give groups the following phrases and bring to life through mime:
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
‘Love is a smoke……a fume of sighs….a fire sparkling in lovers’ eyes…..being vexed…a sea nourished….loving
tears….most discreet….a preserving sweet’.
WRITING
Resource sheet A, below, will help children to construct a dating agency profile for Tybalt, Romeo and Benvolio. They should
complete the initial tables first – the sections which are headed: Quotation and What it tells us. Then, in small groups, give
children a large piece of sugar paper with either Tybalt, Benvolio or Romeo in the centre. Model to children how to add to the mind
maps what we have learnt about these characters. Groups brainstorm ideas and mind map adding as much detail as possible,
adding their own inferred ideas. Then, children imagine that all three men have decided to join a dating agency, and the agency will
use their mind maps to develop the individual profile section of the resource sheet.
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
Resource sheet A
Verona can seem a loveless place. Benvolio, Romeo and Tybalt have each taken matters into their own hands and have joined a
dating agency!
Look at the quotations below and try to work out what they reveal about each character. Then use your findings to write a lonely
hearts ad. Some of Benvolio’s traits have been uncovered (you will need to fill in the empty boxes to find more) and his ad has
been written to get you started.
Benvolio
Quotation
I drew to part them
What it tells us…
Benvolio sees the foolishness of the feud
and tries to stop the brawl that the play
opens with.
A troubled mind drove me to walk abroad
underneath the grove of sycamore… did I
see your son
A play on words (amour = love) reveal that
Benvolio has his suspicions about what is
troubling Romeo.
My noble uncle
He addresses both Lord and Lady Montague
in respectful terms.
Deep thinking, peace
loving, level-headed man
with a mischievous sense
of humour seeks female for
light-hearted fun. Must be
good-natured and respect
her elders.
Reply to Box 55, Verona
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
By giving liberty unto thine eyes:
Examine other beauties
Romeo
Quotation
What it tells us…
…he was ware of me,
And stole into the covert of the wood.
With tears augmenting the fresh morning’s
dew,
Adding to clouds more clouds with his deep
sighs.
…the bud bit with an envious worm
Reply to Box 56, Verona
O brawling love, O loving hate
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
Love is a smoke made with the fume of
sighs
Being purged, a fire sparkling in lovers’
eyes,
Quotation
Tybalt
What it tells us…
fiery Tybalt
with his sword prepared
he breathed defiance to my ears
He swung about his head and cut
the winds
Reply to Box 57, Verona
Reply to Box 57, Verona
hissed him in scorn
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
LESSON 2
DRAMA
Go back to lines 154-227. In pairs children take on the roles of Romeo and Benvolio and act out. Alternatively, divide class in two
and do a choral reading. Following on from the previous lesson’s focus on Romeo’s infatuation with Rosaline, and the confusion he
feels explore how Benvolio advises his friend to ‘examine other beauties’ i.e. look at other girls. Discuss: is this good advice from a
friend?
In pairs, children develop their own short scenes portraying how they think Romeo and Benvolio would have a conversation about
seeking advice from an agony aunt. Imagine Romeo responds to Benvolio by saying he’s not ready to ‘examine other beauties’ until
he’s sought advice from an expert first. In the scene, Benvolio’s role here is to draw out from his friend lots of credible reasons for
seeking advice. Take in turns to perform to rest of the class. As children perform, teacher scribes on flip chart all valid points to be
used in follow up writing lesson.
WRITING
Explain that the task is, in role as Romeo, to compose a letter to an agony aunt. In the next session, the children will compose a
response (or can be completed as a homework task). Discuss features of a letter to an agony aunt:
 STRUCTURE: introduction, explanation of background situation, elaborating on actual problem with relevant details , request
for advice.
 Anonymity
 Use of connectives to structure flow of thoughts (consequently, nevertheless, furthermore…)
 Use of a question at end of letter
As a class brainstorm the kinds of phrases/words that are usually used to convey worry, torment etc. Display these on board and
use as a word bank.
Features of a response letter:
 Emphasising different ways to view the situation.
 Use of connectives to show alternative viewpoints.
 Sympathetic language
 Informal, colloquial style
 Imperative ‘bossy’ verbs at end, instructing Romeo what to do
 Summing up of message/ ‘bigger picture’.
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
LESSON 3
DRAMA
To identify with Romeo’s character, explore one, or all of these three points in the play:
1. After the Capulet’s ball (end of Act 1 Scene 5) SUNDAY NIGHT
2. Following the big fight (end of Act 3 Scene 1). MONDAY NIGHT
3. After leaving Juliet (Act 3 Scene 5). TUESDAY MORNING
For each of these three points, give children five scenes, in chronological order from within the preceding scene. Divide class into
five groups. Each group collaborates to create a ‘frozen tableau’ depicting that particular ‘scene in a scene’. Use ‘thought tracking’
to investigate characters’ emotions and thoughts at these specific points. On a flipchart, specifically record Romeo’s to use in follow
up writing. Use an ‘emotion’ line graph format e.g.
POSITIVE
NEGATIVE
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
Annotate line graph accordingly with specific emotions gathered from children’s drama work.
WRITING
Romeo’s diary entry:
Sunday night
Your first task is to write Romeo’s diary entry after his secret meeting with Juliet on Sunday night. This diary entry should
describe everything that has happened to Romeo on this day.
Make sure you write about:
 Your feelings about Rosalind and why you were unhappy this morning.
 The fight between your friends and the Capulets.
 What your friend Benvolio advised you to do.
 How you felt when you first saw Juliet.
 What happened when you met Juliet after the ball.
 What is going to happen tomorrow.
Romeo’s diary entry:
Tuesday
Your second task is to write Romeo’s diary after he has left Juliet on Tuesday morning. This should describe everything that
has happened to Romeo on this day.
Make





sure you write about:
How you asked the Friar to marry you to Juliet and why he agreed.
Why you refused to fight Tybalt and how Mercutio was killed.
How you took your revenge and killed Tybalt.
Your banishment from Verona and your feelings about leaving Juliet.
The Friar’s plan and how you feel about it.
Try to include your feelings and find unusual and imaginative ways of saying things.
Dear Diary, today has been
a wonderful day …
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
IDEAS FOR DIARY ENTRY
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
LESSON 4
DRAMA
Start by explaining to pupils that sonnet writing was a popular and highly esteemed activity in the court of Queen Elizabeth.
Read aloud and explore the sound effects, structure and imagery of all/some of the following three sonnets:
1. Chorus at start of Act 1: the prologue
2. Lady Capulet’s praise of Paris (Act 1 Scene 3 82-95)
3. Romeo and Juliet’s first meeting (Act 1 Scene 5, lines 92-105)
The Prologue
Two households, both alike in dignity, A
In fair Verona, where we lay our scene, B
From ancient grudge break to new mutiny, A
Where civil blood makes civil hands unclean. B
From forth the fatal loins of these two foes C
A pair of star-cross’d lovers take their life; D
Whole misadventured piteous overthrows C
Do with their death bury their parents’ strife. D
The fearful passage of their death-mark’d love, E
And the continuance of their parents’ rage, F
Which, but their children’s end, nought could remove, E
Is now the two hours’ traffic of our stage; F
The which if you with patient ears attend, G
What here shall miss, our toil shall strive to mend. G
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Primary Shakespeare Project 2014 LESSON PLANS
Divide children into two groups of 14 (number of lines in a sonnet). Sub divide the groups into three groups of four (these children
will be the quatrains i.e. there are three quatrains in a sonnet, each with four lines). The remaining two children will represent the
final two lines of the sonnet which is the rhyming couplet. Give children coloured cards (black, red, green, blue) with corresponding
letters to hold with the line of the sonnet behind. The group will perform their sonnet aloud, with the structure visual for rest of
class to see. As an extra challenge, see if children notice the 10 syllables in each line. Can they experiment with different ways to
read the lines, by placing emphasis on alternate syllables? Introduce the term ‘iambic pentameter’ and demonstrate the process of
stressing alternate syllables (dum-de-dum-de-dum etc). Explore different effects.
If using lines 92-105 Act 1 Scene 5, take time to explain in advance of sharing the sonnet, the history of pilgrims showing their faith
by travelling to the shrines of the Holy Land and bringing back palms as proof of their visit (and were known as ‘palmers’). In the
sonnet, Romeo is comparing Juliet to a shrine or a saint:
If I profane with my unworthiest hand A
This holy shrine, the gentle sin is this, B
My lips, two blushing pilgrims, ready stand A
To smooth that rough touch with a tender kiss B
Good pilgrim, you do wrong your hand too much, C
Which mannerly devotion shows in this, D
For saints have hands that pilgrims’ hands do touch C
And palm to palm is holy palmers’ kiss. D
Have not saints lips, and holy palmers too? E
Ay pilgrim, lips that they must use in prayer. F
O then dear saint, let lips do what hands do: E
They pray, grant thou, lest faith turn to despair F
Saints do not move, though grant for prayers ‘sake G
Then move not while my prayer’s effect I take. G
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
WRITING
Explain to class that they will compose their own sonnet, but to simplify the process they will first start with adapting the prologue
by transforming into a tale of two warring classrooms.
Model to children how to adapt the first two lines from:
Two households, both alike in dignity, A
In fair Verona, where we lay our scene, B
To:
Two classrooms, quite unlike in atmosphere, A
In fair London, where we start our scene B
When complete, take time to perform sonnets aloud. Encourage children to comment on successful aspects of their peers’ sonnets.
Discuss particularly successful examples of rhyme and imagery. Pupils also to note the different ways in which their own sonnets
have been read aloud. Do any sound close to Shakespeare’s iambic pentameter? If so, how has this been achieved?
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
LESSON 5
DRAMA
Read to end of Act 2 Scene 2. Create an imagined scenario: Juliet decides to tell her parents about her feelings for Romeo. She
truly believes that if she can convince them of her strong feelings for Romeo, this could be the solution to the on-going feud
between the Capulets and the Montagues. She wants to stress to her parents what an unhealthy decision it would be for her to be
forced into marrying Paris, a man she doesn’t love with all her heart.
WRITING
Introduce features of a persuasive letter:
 Flattery of recipient
 Use of rhetorical questions
 ‘Expert’ opinion
 Statistics and facts to support points
 Emotive language
 Use lists of three
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
LESSON 6
DRAMA
For the first part of the session, pupils will familiarise themselves with Mercutio, Tybalt, Benvolio and Romeo’s lines before acting
out the fight scene. Start by handing out lines to the class. Half are from the original text and the other half are the modern
equivalents. Children find their matching pair/partner. See Resource Sheet B
Resource Sheet B
Shakespearean phrase
Modern phrase
‘We shall not ’scape a brawl’
‘We won’t avoid a fight’
‘For now, these hot days, is the mad
blood stirring’
‘When it’s boiling outside, it makes us
crazy!’
‘Either withdraw unto some private
place...’
‘Let’s go some place where not everyone
can see us.’
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
‘Here comes my man’
‘This is the guy I’ve been looking for.’
‘Thou art a villain’
‘You are scum’
‘I see thou know’st me not’
‘You wouldn’t call me that if you really
knew me’
‘Therefore turn and draw’
‘Come back and fight me’
‘O calm, dishonourable, vile submission’
‘What a weak, cowardly surrender’
‘Guys, stop this fighting!’
‘Gentlemen, for shame, forbear this
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
outrage!’
‘A plague on both your houses!’
‘I curse both of you and your families!’
‘I am sped’
‘I am killed’
‘Courage, man; the hurt cannot be
much’
‘Be brave, you can’t be badly injured’
‘My reputation stain’d with Tybalt’s
slander’
‘Tybalt’s murder has ruined my good
name!’
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
‘And fire-ey’d fury be my conduct now.’
‘Let my anger guide my actions’
‘O I am Fortune’s fool’
‘I am so unlucky!’
When the children find their partner, one sculpts the other into a strong position in order to deliver the line. Discuss which of the
positions the children have created best emphasise the conflict
For the next part of this session, stage a mini performance of the events of Act 3 Scene 1. Ensure all children have an active role. In
addition to actual characters, introduce fictional characters, e.g. extra Capulet/ Montague family members, street bystanders,
palace workers etc. Six children approx. required to be reporters for newspapers e.g. (‘The Verona Chronicle’, ‘The Venetian
Herald’). Set the scene: it’s a sweltering hot day. Establish where everyone is and what they are doing before Benvolio and
Mercutio arrive (discussing whether or not they should go indoors to avoid a brawl with the Capulets).
Work through the scene. At the most dramatic and pivotal points freeze the action and focus on the reactions of the bystanders and
witnesses. Teacher to thought track their responses/ thoughts upon witnessing the fights taking place.
At end of scene, reporters step into action and start interviewing those involved, and eye witnesses ensuring that notes are kept for
follow up writing. A chart to record their notes could look like this:
Name
Age
Job
Gonzalo
29
Torch bearer
Statement
“In all my years in fair Verona I’ve
never seen such an ugly, murderous
brawl. That good for nothing Romeo
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
has put the good name of Montague
to ruin!”
Francisca
Lorenzo
26
34
Gentlewoman
Musician
WRITING
SUCCESS CRITERIA
 A headline.
 An ‘orientation’ paragraph which ‘sets the scene’ for the reader.
 Use of direct and reported speech
 Time connectives to show clear order of events
All content for newspaper article needs to be gathered and success criteria for article explained fully so all pupils are aware of how
to approach their work. Model to pupils process of selecting a catchy headline (experiment with alliteration and/or puns), and how
to structure their ‘orientation’ paragraph (who, what, where, when). Complete some shared exercises on whiteboards together
focusing on how to use the passive voice to create a journalistic style. Model how to use speech marks carefully. Explain the
difference between reported and direct speech and encourage pupils to use at least one of each. If appropriate, teachers could
introduce the concept of bias into their articles. Imagine that ‘The Venetian Times’ is very pro Capulet. How would this affect the
tone of their article? How would it affect the choice of reported speech from eye witnesses? Share some examples together.
Provide a phrase bank to use as sentence starters:
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
EXAMPLE HEADLINES
Vain Viciousness in Verona
Gang Warfare Leaves Two Dead
Violent Vendetta Ends in Tragedy
TIME CONNECTIVES
•
Shortly before dusk . . .
•
Later that day . . .
•
Before long . . .
•
As evening fell . . .
•
As the sun set . . .
•
Soon after . . .
•
Hours later . . .
•
Unfortunately . . .
•
Fortunately . . .
•
Soon
•
So
•
Afterwards
•
After that
•
Later on
•
Next
•
Moments later
•
Seconds later
•
Much later
•
Within minutes
•
Without any warning . . .
•
At that very moment . . .
REPORTED SPEECH (no speech marks needed)
•
He/she reported that . . .
•
He/she also claimed that . . .
•
He/she went on to state that . . .
•
He/she confirmed that . . .
•
He/She claimed that . . .
•
He/she disputed that . . .
•
She refused to accept that . . .
•
He agreed that . . .
•
She went on to tell us that . . .
•
He continued by informing us that . . .
•
In addition to this . . .
•
He/she also spoke of how . . .
•
He/she refused to accept that . . .
•
She reputed . . .
•
She emphasised . . .
•
He continued by . . .
•
A spokesman stated that . . .
JOURNALISTIC PHRASES
•
•
•
•
•
•
It can be reported that…
There have been rumours that…
Some locals have stated that….
There have been suggestions that…
Recent events indicate that…
It has been assumed that …..
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
LESSON 7
DRAMA
Start this lesson by thinking about the way that Juliet speaks to Paris in Act 4 Scene 1: she uses very ambiguous language. In
Scene 2 she chooses to deceive her father, Lord Capulet, and she then speaks with double meaning to her mother and the nurse in
Scene 3 (see lines 1-12). Select one of these scenes and children act out in small groups. Then, get children to think about
whether Juliet, in these situations, was right to lie.
Set up a ‘conscience alley’ whereby children form two lines facing each other. One side will be pro-lying, and the other side will be
against. Select one pupil to be in role as Juliet. As she walks down the ‘alley’, pupils whisper their reasons to her, as persuasively
and dramatically as possible. Question the child in role as Juliet: how did it feel? Did one side persuade you more than the other?
Why/ why not?
For the next part of the lesson, the teacher will provide a number of scenarios. Based upon these, the children will improvise TWO
short scenes in small groups. Each scenario will involve a dilemma for one of the characters i.e. a point at which they must decide
whether or not to tell a lie or be truthful. The children will explore two contrasting possible outcomes. Scenarios can either be taken
directly from the text, or can be taken from modern day. Invite children to contribute their own scenarios: i.e. a child who hasn’t
learnt spellings for test accidentally comes across teacher’s test sheet. Should he/ she use them to cheat, or be honest and hand in
to teacher without looking? After performing each scene for their chosen dilemma, the teacher leads a discussion encouraging pupils
to reflect on both scenarios and draw a logical, balanced conclusion on what is the ‘better’ outcome/ solution, ensuring appropriate
reasons are provided.
WRITING
Explain that the follow up writing task will be a discursive essay which will respond to the question: is it always wrong to lie? They
will begin by introducing the topic of lying and truth telling, then move on to exploring the issue in more depth, providing reasons
for and against, and will conclude with their own personal viewpoints.
Other possible essay topics inspired by the play:
1. Should children always obey their parents’ rules?
2. Is it better for parents to give their children more or less freedom?
3. No matter what they do, should parents ever reject their children?
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Primary Shakespeare Project 2014 LESSON PLANS
The main teaching point will be to introduce simple, well-structured paragraphs. The first paragraph will commence with ‘on the one
hand’ and the second paragraph will start with ‘on the other hand’. Other vocabulary to link ideas in your discursive essay include:
Same line of thought
e.g. - and, firstly, secondly etc., next, furthermore, likewise, in addition, similarly, also, moreover.
Conclusion/summary
e.g. - thus, therefore, consequently, accordingly, in retrospect, hence, in conclusion, in brief, as a result.
Definite statement
e.g. - without question, without doubt, unquestionably, absolutely.
Contrasting idea
e.g. - yet, on the other hand, nevertheless, however, although, conversely, otherwise, on the contrary.
Further examples
because, for instance, since, for example, so that, despite the fact that, accordingly, although,
if, though, unless.
Other sentence starters:
Some people believe that…
It is commonly thought that…
Many think that…
However, there are also some who think that…
There are people who are of the opinion that…
However, I think that
My personal view is that……
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
LESSON 8
Rhyming Couplets
For never was a story more of woe,
Than this of Juliet, and her Romeo.
A rhyming couplet can be described as two lines that rhyme. They were used for dramatic impact and Shakespeare used
rhyming couplets to add tension, excitement and importance to particular parts of the play.
Who do you think delivers the following rhyming couplets in Act 1 Scene 5? What do they mean? How is the character
feeling at this point?
1. ‘A villain that is hither come in spite,
To scorn at our solemnity this night’.
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Primary Shakespeare Project 2014 LESSON PLANS
2. ‘Did my heart love till now? Forswear it, sight!
For I ne’er saw true beauty till this night.’
Now make up two of your own rhyming couplets that show exactly how a character in Romeo and Juliet is
feeling – see the example given below, it displays anger, use it as a guide to help you. Show two different
emotions (love, sadness, happiness, fear etc). It helps if you think of your rhyming words BEFORE writing
the couplet. When you have found two rhyming words you want to use, write them in the box. Then
compose the ‘beginning’ part of both lines.
EXAMPLE 1. My character: Romeo
Of my love for her, I want to shout
From within my heart my feelings pour out!
Start with a rhyming ‘sound’. What
rhyming words can you think of?
shout
spout
doubt
sprout
scout
trout
out
Start with a rhyming ‘sound’. What
rhyming words can you think of?
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Primary Shakespeare Project 2014 LESSON PLANS
Rhyming Couplet 1 My character:…………….
…………………………………………………………………
…………………………………………………………………
Rhyming Couplet 2. My character:…………….
…………………………………………………………………
…………………………………………………………………
LESSON 9
DRAMA
Start with a rhyming ‘sound’. What
rhyming words can you think of?
ROMEO & JULIET
Primary Shakespeare Project 2014 LESSON PLANS
Encourage children to imagine: it’s ten years since the deaths of Romeo and Juliet. What does the Friar think now, as he looks back
over the distance of time? He has to face up to a very cruel irony: he married Romeo and Juliet, hoping that their marriage would
end the feud between the warring Montagues and Capulets. His intentions were surely pure at heart? But why did he break with
church law by marrying the pair so hastily, in secret? How did he feel about devising a plan which concealed the truth from Juliet’s
parents? It took the tragic deaths of these two young people for these two families to finally shake hands. He was also the one who
provided the sleep poison, and he did know what the risks were. The Friar also has to cope with his abandonment of Juliet in the
tomb at a time when she needed him the most. Does he regret his impulsive actions? All these years later: what does he think of
his actions back then? And what has he been doing for the past ten years?
Using musical accompaniment, children mime a day to day activity they imagine the Friar to be doing ten years on. Pupils then
mime how they envisage him to look/act/ behave as he reflects/ thinks about events ten years ago. Maybe it is forgotten item of
Juliet’s that triggers a memory? Or maybe the reading of a letter that the Capulets or Montagues sent him that forces him to think
back. Then, invite one of the ‘Friars’ to be hot seated by a friend (or teacher in role as the Friar). In groups children think of
questions which are pulled out of a hat.
WRITING
In role as the Friar, pupils compose either his ‘memoirs’ or simply one memoir which recalls his version of the tragic events: the day
that Romeo and Juliet died. Children think carefully about his particular viewpoint and motives; what led him to do what he did.
Encourage creativity through this task. Through their writing, pupils can paint any version of how they imagine events to have
been, as long as it is well described, credible and contains sufficient detail and emotion.