---
product_id: 156339370
title: "Romeo & Juliet"
price: "KD 13.53"
currency: KWD
in_stock: true
reviews_count: 7
url: https://www.desertcart.com.kw/products/156339370-romeo-and-juliet
store_origin: KW
region: Kuwait
---

# Romeo & Juliet

**Price:** KD 13.53
**Availability:** ✅ In Stock

## Quick Answers

- **What is this?** Romeo & Juliet
- **How much does it cost?** KD 13.53 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.com.kw](https://www.desertcart.com.kw/products/156339370-romeo-and-juliet)

## Best For

- Customers looking for quality international products

## Why This Product

- Free international shipping included
- Worldwide delivery with tracking
- 15-day hassle-free returns

## Description

"My only love sprung from my only hate!" What if your first true love was someone you'd been told to hate? Ripped apart by the bitter divisions of their parents, two young people will risk everything to be together. The most famous story of love at first sight explodes with intense passion and an irresistible desire for change. Will this spark a revolution, or will division continue to tear through the generations? "The tale of star-crossed lovers is brought into dazzlingly sharp relief." (The Evening Standard) "This must be the most fleet-footed account of Romeo and Juliet since West Side Story... Whyman has done something bold, which is incorporate into the company a handful of pupils from schools across the country; their freshness rubs off onto the rest of the cast." (The Telegraph)

Review: "Two households, both alike in dignity..." YES! - Always enjoy a new performance of Romeo and Juliet...A+
Review: Brings freshness and radiates sincerity - This DVD presents a recording of “Romeo and Juliet” production by the Royal Shakespeare Company. The performance was recorded in July, 2018. It was directed by Erica Whyman. This is a well done production. The young actors who play Romeo and Juliet are able to present their characters in a compelling way. They both bring freshness to the play and radiate sincerity. A very simple but clever stage design helps to emphasize the strength of the actors’ performance. Most importantly, Erica Whyman does not try to explain the story or to improve it or make-up a new story. She leaves it up to the audience to try to figure out the various “why” and “how” that the play prompts the audience to ask. Even with an artificial gender balance, the intended impact of the play is preserved. Shakespeare always leaves it up to his audiences and readers to work out these various “why” and “how.” In this way he encourages our minds to make an extra effort and to rise above ordinary intellectual and emotional reactions. Why does the lovers’ story end up in such a tragic way? Sure, there were many other possibilities to resolve the situation in a much more agreeable manner. Why did Shakespeare select the tragic one? Falling in love is rather a common experience, but that particular manifestation of “love” as illustrated in “Romeo and Juliet” seems to belong to a very different category. It is immensely greater than what we are familiar with. Why is like this? How is it done? What is it that makes it so different? By having the Trojan heroes Paris and Helena inserted in “Romeo and Juliet,” Shakespeare intentionally draws our attention to another episode of his narrative: “Troilus and Cressida.” An interesting thing is that the RSC presented “Romeo and Juliet” just prior to their production of “Troilus and Cressida” (April and October in 2018, respectively). In both plays there is a couple of lovers who, after spending a first night together, are forcefully separated. These are the similarities. But there are also substantial differences that Shakespeare wants us to notice. The first difference is that “Troilus and Cressida” is set-up in 13th century BC Troy (approx.) and “Romeo and Juliet” in 14th century Verona, i.e., nearly three millennia later. “Troilus and Cressida” is the opening episode of Shakespeare’s narrative. In other words, “Troilus and Cressida” marks the starting point of Shakespeare’s journey through many stages of human consciousness. He uses the various manifestations of “love” as a symbolic measure of the various levels of consciousness. At the time of the Trojan War, “love” is very basic: mechanical, transactional, purely sensual with a tiny touch of emotionality. In the case of “Troilus and Cressida,” this particular manifestation of “love” does not have any effect on neither Trojans nor Greeks. Even the lovers themselves manage relatively easily to overcome their separation. Fourteen episodes later, in 14th century Verona, “love” is manifested in an entirely new manner. It rises into a completely different quality and dimension. Its flame consumes the lovers. But -and this is the main point of “Romeo and Juliet” and the entire Shakespeare’s narrative- it affects the entire city of Verona and changes the city’s modus operandi. (How effective is this change? We may find about it in “Two Gentlemen of Verona,” which describes the next episode of Shakespeare’s narrative.) In Shakespeare’s symbolic illustration, “Verona” represents an intermediary stage in the development of human consciousness. Because of the experiences of Romeo and Juliet, “Verona” is cleansed from its impurities; it is freed from that “ancient (Trojan) grudge. Now “Verona” is made ready for the next stage of the process. Unfortunately, the audiences watching the RSC’s productions of “Romeo and Juliet” and “Troilus and Cressida” were prevented from accessing answers to these various questions. By blindly following the fashion for a “modernization” of Shakespeare, the RSC staged both plays in modern times. This means that the plays are taking place at the same historical times, in the same social and cultural milieus. In this way the historical dimension of Shakespeare’s narrative has been removed; the plays have been flattened out. The intermediary stages of the process (described in other fourteen plays) that led from the stage of “Troy” to the stage of “Verona” were erased. In this context, there remains only one issue that presently truly preoccupies the RSC. This issue is a matter of accounting. Namely, how many male and female characters are accounted for in each of these two productions. “Lord, what fools these mortals be!”

## Technical Specifications

| Specification | Value |
|---------------|-------|
| ASIN  | B07VGTXTBM |
| Actors  | Afolabi Alli; Andrew French; Bally Gill; Beth Cordingly |
| Best Sellers Rank | #142,779 in Movies & TV ( See Top 100 in Movies & TV ) #4,481 in Documentary (Movies & TV) |
| Customer Reviews | 3.7 3.7 out of 5 stars (31) |
| Media Format  | NTSC |
| Number of discs  | 1 |
| Product Dimensions  | 0.7 x 7.5 x 5.4 inches; 2.72 ounces |
| Release date  | September 27, 2019 |
| Run time  | 2 hours and 42 minutes |
| Studio  | Amped |

## Images

![Romeo & Juliet - Image 1](https://m.media-amazon.com/images/I/41Swu6H5MlL.jpg)
![Romeo & Juliet - Image 2](https://m.media-amazon.com/images/I/51a2v5mhQGL.jpg)
![Romeo & Juliet - Image 3](https://m.media-amazon.com/images/I/81HlCSlF8vL.jpg)
![Romeo & Juliet - Image 4](https://m.media-amazon.com/images/I/81ZSfNcl5WL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ "Two households, both alike in dignity..." YES!
*by K***S on January 30, 2020*

Always enjoy a new performance of Romeo and Juliet...A+

### ⭐⭐⭐⭐ Brings freshness and radiates sincerity
*by R***T on October 9, 2019*

This DVD presents a recording of “Romeo and Juliet” production by the Royal Shakespeare Company. The performance was recorded in July, 2018. It was directed by Erica Whyman. This is a well done production. The young actors who play Romeo and Juliet are able to present their characters in a compelling way. They both bring freshness to the play and radiate sincerity. A very simple but clever stage design helps to emphasize the strength of the actors’ performance. Most importantly, Erica Whyman does not try to explain the story or to improve it or make-up a new story. She leaves it up to the audience to try to figure out the various “why” and “how” that the play prompts the audience to ask. Even with an artificial gender balance, the intended impact of the play is preserved. Shakespeare always leaves it up to his audiences and readers to work out these various “why” and “how.” In this way he encourages our minds to make an extra effort and to rise above ordinary intellectual and emotional reactions. Why does the lovers’ story end up in such a tragic way? Sure, there were many other possibilities to resolve the situation in a much more agreeable manner. Why did Shakespeare select the tragic one? Falling in love is rather a common experience, but that particular manifestation of “love” as illustrated in “Romeo and Juliet” seems to belong to a very different category. It is immensely greater than what we are familiar with. Why is like this? How is it done? What is it that makes it so different? By having the Trojan heroes Paris and Helena inserted in “Romeo and Juliet,” Shakespeare intentionally draws our attention to another episode of his narrative: “Troilus and Cressida.” An interesting thing is that the RSC presented “Romeo and Juliet” just prior to their production of “Troilus and Cressida” (April and October in 2018, respectively). In both plays there is a couple of lovers who, after spending a first night together, are forcefully separated. These are the similarities. But there are also substantial differences that Shakespeare wants us to notice. The first difference is that “Troilus and Cressida” is set-up in 13th century BC Troy (approx.) and “Romeo and Juliet” in 14th century Verona, i.e., nearly three millennia later. “Troilus and Cressida” is the opening episode of Shakespeare’s narrative. In other words, “Troilus and Cressida” marks the starting point of Shakespeare’s journey through many stages of human consciousness. He uses the various manifestations of “love” as a symbolic measure of the various levels of consciousness. At the time of the Trojan War, “love” is very basic: mechanical, transactional, purely sensual with a tiny touch of emotionality. In the case of “Troilus and Cressida,” this particular manifestation of “love” does not have any effect on neither Trojans nor Greeks. Even the lovers themselves manage relatively easily to overcome their separation. Fourteen episodes later, in 14th century Verona, “love” is manifested in an entirely new manner. It rises into a completely different quality and dimension. Its flame consumes the lovers. But -and this is the main point of “Romeo and Juliet” and the entire Shakespeare’s narrative- it affects the entire city of Verona and changes the city’s modus operandi. (How effective is this change? We may find about it in “Two Gentlemen of Verona,” which describes the next episode of Shakespeare’s narrative.) In Shakespeare’s symbolic illustration, “Verona” represents an intermediary stage in the development of human consciousness. Because of the experiences of Romeo and Juliet, “Verona” is cleansed from its impurities; it is freed from that “ancient (Trojan) grudge. Now “Verona” is made ready for the next stage of the process. Unfortunately, the audiences watching the RSC’s productions of “Romeo and Juliet” and “Troilus and Cressida” were prevented from accessing answers to these various questions. By blindly following the fashion for a “modernization” of Shakespeare, the RSC staged both plays in modern times. This means that the plays are taking place at the same historical times, in the same social and cultural milieus. In this way the historical dimension of Shakespeare’s narrative has been removed; the plays have been flattened out. The intermediary stages of the process (described in other fourteen plays) that led from the stage of “Troy” to the stage of “Verona” were erased. In this context, there remains only one issue that presently truly preoccupies the RSC. This issue is a matter of accounting. Namely, how many male and female characters are accounted for in each of these two productions. “Lord, what fools these mortals be!”

### ⭐⭐ Lost is the Poetry in the noise and over-acting
*by K***5 on May 2, 2021*

I had high expectations for this RSC production but they were not close to fulfilled. There was the usual gender-shifting of role typical of many modern productions. That can be done well but here it was not. The subtlety was lost in the direction. Romeo is not listless, suffering from "love melancholy" in his first scenes. His is rushed, loud and full of antics. Mercutio overdoes the Queen Mab speech at high volume. The party at the Capulet house where the lovers' first meet becomes, of course, a loud disco with jarring music. This overpowers the beautiful language of that scene and the key sonnet that Romeo speaks upon first seeing Juliet is mangled. The emotion of their intense first romance is lost. I could go on but you get the point.

---

## Why Shop on Desertcart?

- 🛒 **Trusted by 1.3+ Million Shoppers** — Serving international shoppers since 2016
- 🌍 **Shop Globally** — Access 737+ million products across 21 categories
- 💰 **No Hidden Fees** — All customs, duties, and taxes included in the price
- 🔄 **15-Day Free Returns** — Hassle-free returns (30 days for PRO members)
- 🔒 **Secure Payments** — Trusted payment options with buyer protection
- ⭐ **TrustPilot Rated 4.5/5** — Based on 8,000+ happy customer reviews

**Shop now:** [https://www.desertcart.com.kw/products/156339370-romeo-and-juliet](https://www.desertcart.com.kw/products/156339370-romeo-and-juliet)

---

*Product available on Desertcart Kuwait*
*Store origin: KW*
*Last updated: 2026-01-22*