Walter Schlinger’s Romeo and Juliet was written after many conversations with Dixie O’Connell and other artists across disciplines. It floated around as an idea for a year before I actually began writing, and even then it went through a variety of shapes and forms. From a full length adaptation of R+J to a verbatim theatre piece based on interviews with college students in their final semesters. The only thing that stayed consistent was the attempt to define the phenomenon of “young artist” and apply Shakespeare’s timeless language to a timeless endeavor.

It wasn’t until recently that the play became a solo performance. I had a collection of three chunky monologues, all intended to be divided between different characters. But something didn’t sit right with that. They all sounded like one, optimistic, anxious, desperate person. That singular voice coalesced into a 22-year-old English major, and this character went on to become Whitney Schlinger. I have a lot of love for her version of the show. She appears in a majority of the drafts I wrote. I loved her commitment to sincerity. Authenticity is a highly valuable attribute and it’s the currency of storytelling. Then, after some advice from a fellow solo performer and writer, I read the play out loud for Dixie. I was curious what my voice would do to the text and, honestly, wasn't sure if it would work well or not. We both agreed that there was something fresh with “Walter”; he brought his own level of vulnerability to the page without losing the endearing aspects of Whitney. He was curious and passionate and all turned around. Personally, I enjoy the way he interrogates the feelings he struggles with. He is seeking an answer.

There is a surreal feeling about performing this show; a show that Dixie and I talked about in the mailroom of our college campus. It has been such a pleasure sharing the development of this play with the Glow-Worm Writers and Readers group. I would also like to thank the friends who gathered in living rooms to listen to this play at various stages and special acknowledgement is due for Lainey Helmers who read as Whitney countless times. This is the first stop for this play after a short five minute exhibition last summer so I would like to also thank you, the first audience. There is a sacred relationship between performer and spectator. One that is, above all, collaborative. I appreciate your presence.