Troilus and Cressida, Romeo and Juliet, Henry V, As You Like It, Medea/Macbeth/Cinderella and The Very Merry Wives of Windsor, Iowa

The comic tone continued in the later part of this scene as the bridge became the platform from which Pandarus and Cressida reviewed the Trojan troops returning from the battle (the middle rock/wall panel was taken down so that it formed a gateway): Pandarus encouraged audience participation by urging us to shout for Troilus and to applaud at his imminent arrival. [...]any sense that Romeo and Juliet led very different lives, and that, for the most part, Juliet never saw the open air, was entirely lost. [...]her presence in the forest meant that the Duke's company was not an all-male troupe, and I think that makes a considerable difference: part of the folly of the Duke is the folly of the King in Love's Labour's Lost: the belief that it is feasible to live without women. The former attempted to draw parallels between three narratives by Euripides, Shakespeare, and Rodgers and Hammerstein, while the latter was an adaptation of Shakespeare's comedy set in a contemporary Midwestern US town in which gay marriage is not only legal but encouraged, to the point of being the norm.