Romeo & Juliet star Josh OConnor says actors have found new ways to work to stop the epidemic

Romeo & Juliet has been the first TV production screen recorded at the National Theater.
One of Shakespeares’ most famous plays has been considered after a National Theater program was unable to continue due to the epidemic.
Instead, Romeo & Juliet has become the first-ever TV brand, recorded in a dignified setting.
Crown star Josh OConnor, who recently won the Golden Globe for his career in the royal series, plays the role of Romeo.
He told on the News that the mix of theater and TV is something special.
It was amazing … it was my dream to work at the National Theater … but it wasn’t the way I thought in my dreams, it was unique, he said
.

You know, hopefully, it won’t happen again like a pandemic, but it’s like we’re getting it every day – like getting a new way of working.
That rarely happened, so I had time for my life.
As with all products made last year, the shoot had to comply with strict COVID safe procedures.
It was a tube or a small one – most of the characters lived in a state of housing together, explains Jessie Buckley who plays Juliet.
They were careful with it, you know, we all wore masks, washed our hands when we came in, and checked twice a week.
It was therefore taken very seriously, but it was also taken seriously so that we could work.
Buckley says regulations also put time pressure on forums that can be taken lightly.


In the days when we had the closest scenes we practiced, there was something like a three-hour window after the exam where we would be given a thumbs up that we had bad hearts and might get together.
OConnor says he is grateful that as members of the cast they were able to fulfill a need that many could not.
We were so lucky that I remember every day how we were, you know, hungry for something like socializing, as everyone is in the world.
This is not the first time that art has been forced to adapt to world events.
But the director of the National Theater and chief executive officer, Rufus Norris, says it is not yet clear whether this hybrid model could be here to stay.


I think if you look at history, these challenging times often lead to evolution or evolution, you told News.
There was a plague in the late 16th century which meant that actors had to move from London to a place called Stratford, a young man went to watch a game there, and how Shakespeare met the theater.
Another disease, later, meant that Shakespeare had to stay inside and network with King Lear; when the Puritans lost control of entertainment, there was a period of 30 years when there were no games and finally when women entered the stage for the first time; and the Arts Council was formed outside of World War II.


So every time like this when we are facing a lot of difficulty, features come up … I don’t know if this is just the beginning of a new form – get it right.
With the theater undergoing long-awaited criticism for failing to reach a wider audience, most of whom simply cannot afford tickets forced closures with coronavirus may quickly accelerate a new way of bringing games to the public.
And if the epidemic made the whole world a stage – maybe Shakespeare would agree

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