Such Tweet Sorrow: website-specific theatre that works

I have to admit that when I heard a modern day version of Romeo and Juliet was to be ‘staged’ on Twitter, I was sceptical. Not necessarily that it would be possible to play out a series of characters posting online as if they were real — that has been done before. YouTube had lonelygirl15, which continued for some time before being revealed as fictional. On Twitter itself, the characters behind web-only crime thriller Girl Number 9 conversed with each other in the run-up to the release of the first episode online.

That latter experiment didn’t really work for me, because it involved characters I did not know talking to each other about a crime case I knew even less. As such it proved hard to get drawn in.

And I thought the online Romeo and Juliet, punningly entitled Such Tweet Sorrow, might actually suffer a reverse problem. The story of Verona’s two houses both alike in dignity is so well known that it couldn’t possibly work.

Not for the first time, I was incredibly wrong. Such Tweet Sorrow (aka @Such_Tweet) is an utterly compelling retelling. But the kicker is that for it to work, you have to have it playing alongside your existing Twitter conversations. If you dip in via the official website, it just doesn’t work.

You may have heard of site-specific theatre, a “performance which can only be done in a particular place or site”. Such Tweet Sorrow is the first, truly successful, online version – website-specific theatre.

In its first few days, it was hard to adjust to some of the representations of the characters we know from Shakespeare’s play. Most of the characters’ names have been retained from the original — but apart from Juliet @julietcap16 (and, to a far lesser extent, Romeo, @romeo_mo) none of the characters’ first names really work in a modern context. When was the last time you met a Tybalt (@Tybalt_Cap) or a Mercutio (@mercuteio)?

That disparity, between medieval names and dialogue that fits in naturally with life in 2010 London, provides an initial barrier to suspension of disbelief. Some of the other characters’ integration to the storyline required more massaging. Friar Lawrence becomes @LaurenceFriar (not the most common of surnames), an internet café owner and small-time drug dealer. More successfully, the Nurse becomes Jess, Juliet and Tybalt’s older sister, who had to take on a more matronly role towards her siblings when their mother died ten years ago (explaining her @Jess_nurse username)

And just reading the characters’ tweets, either on the Twitter list page @Such_Tweet/such-tweet-sorrow or on the official website timeline, doesn’t really present the story in the correct light to get over that feeling, because it removes from the narrative the most important aspect of Twitter — that it’s a real time messaging system.

Instead, I elected to follow each of the characters, so that their tweets would show up in my own Twitter timeline, jumbled up amid those of everyone else I follow. It means that events play out at a more believable pace: Romeo had to be coaxed onto Twitter because he was too busy playing an online game with an American girl called Rosaline, and didn’t even show up in the ‘play’ for the first couple of days. A brawl between some of the Capulet and Montague boys saw abuse being hurled long after the event, just as it would in real life.

Throughout Friday, Juliet started to stress about her 16th birthday party that night (coincidentally, the youngest Capulet shares her birthday with the Bard), while the Montague boys debated whether to crash it. It may sound trite, but with events unfolding alongside your own friends planning their own Friday evening jollities, it works surprisingly well.

The story has bled out onto other websites, too, just as non-fictional conversations on Twitter do. Sites devoted to sharing photos and videos via Twitter make regular appearances, while a Tumblr-driven blog provides some insights from @Jago_klepto, a classmate of Juliet’s who provides some additional commentary.

As it stands, Romeo and Juliet spent the night together after bumping into one another at the birthday party, so we can expect the fall-out any day now. Which brings another factor into play. In the latter stages of the play, much of the tragedy comes about through the main characters’ ignorance of the others’ intentions and motivations. Juliet fakes her death; Romeo, believing her dead, poisons himself; a waking Juliet, seeing her dead lover, stabs herself.

Given the way the play has unfolded so far, I feel sure that the people planning Such Tweet Sorrow have worked out how to cope with such big secrets in an arena that is intrinsically open to everyone. It’ll be a test of their creativity, for sure — and if that closing act fails online, it will have an effect on how this venture is remembered. Right now, though, to steal a phrase from one of Shakespeare’s other masterpieces, Such Tweet Sorrow is a palpable hit.

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Scott Matthewman

Formerly Online Editor and Digital Project Manager for The Stage, creator of the award-winning The Gay Vote politics blog, now a full-time software developer specialising in Ruby, Objective-C and Swift, as well as a part-time critic for Musical Theatre Review, The Reviews Hub and others.