Season 2019

Season of Love and Hate brings Romeo & Juliet to the main festival stage. It will be directed by Sean Aita, making it his first season at Midsummer Scene. Our version of the world’s most romantic tragedy will be inspired by 1960s Italy and draw heavily on mafia culture. The creative team is composed of artists from all over Europe, making this season even more international.

The most famous story of love at first sight with no happy ever after comes to Fort Lovrjenac this summer. Star-crossed lovers ripped apart by the bitter feuding of their families, risk everything to stay together. Our festival headline production is set in 1960s Verona with the backdrop La Mala del Brenta, a Northern Italian version of the Mafia. This version of the play has a distinctly Medditeranean feel, in a period when rebellious teenagers flaunting convention and challenging authority were still very much  a novelty.

Will the courage to see change spark a change or will divisions continue through generations?

The World Music Day Concert

Dubrovnik Symphony Orchestra

I, Who Have Hands More Innocent

By Vesna Parun and Vesna Tominac Matačić

Songs for Lovers (and Other Idiots)

Cabaret performed by S-L. Young and M. Roulston

Uncle Maroye Re-Examined

Based on the comedy by Marin Držić

A Word from the Director

Shakespeare’s ‘star-crossed lovers’ are almost certainly amongst his best known characters, and the play itself was voted his most popular in a You Gov survey to mark the four hundredth anniversary of the author’s death. This story of transgressive romance, both challenging and overcoming parental and societal limitations struck a chord with the audience from the moment of its creation, as the title page of its 1597 publication tells us; “it hath been often, with great applause, plaid publiquely”.

What interested me about this celebrated love story is that it is as much about violence and hatred as it is about romance. The world the lovers inhabit is one fuelled by revenge, and internecine conflict. I wanted to find a way to represent a community torn by rivalry that the younger generation would like to escape, but which values loyalty to the family above all other considerations. The solution which came to me was to embed the drama firmly in the Italian culture that Shakespeare chose as his setting. Shakespeare’s fascination with Italy permeates the cannon of his work and the country is referenced so frequently that some scholars suggest that he may have travelled in Italy during his so called ‘lost years’ sometime between the mid-1580s and 1590s.

I have consequently chosen to set this production in Verona in the early 1960s with the context of La Mala del Brenta, a Northern Italian version of the Mafia. During this period a number of high-ranking Sicilian Mafiosi were sent to serve time in solitary confinement in the Friuli-Venezia-Giulia regions. They gradually built networks with local underworld figures and rose to positions of power and prominence, eventually founding a high-calibre international syndicate, whilst also bringing old grudges and enmities along with them from the South. From the mid nineteen fifties through into the early sixties the model of the rebellious teenager, flaunting convention and challenging authority was also a developing social phenomenon, making it a suitable period for a story in which young people are developing a burgeoning sense of their own agency. Juliet is a young woman trapped in a fiercely patriarchal society, whose body is destined to be used a pawn to support her father’s strategic alliances. It takes enormous courage for her to resist such pressure, and to make a choice she recognises, at the very least, will cause her to be separated from her family forever. The power of love as an ecstatic, tempestuous and overpowering force that cannot be gainsaid is, of course, the central theme of the drama, but Virgil’s proverbial statement omnia vincit amor is overturned by the fact that Shakespeare chooses tragedy as his mode of expression, leading Romeo and Juliet towards the inevitability of death, and the play to its final outcome ‘a glooming peace’.

Sean Aita

Family Feud


  • Prince Escalus, Prince of Verona
  • Mercutio, kinsman of Escalus, friend of Romeo
  • Paris, kinsman of Escalus who wishes to marry Juliet


  • Montague, patriarch of the House of Montague
  • Lady Montague, matriarch of the House of Montague
  • Romeo, son of the Montagues
  • Benvolio, cousin and friend of Romeo
  • Abraham and Balthasar, servants in the Montague household


  • Capulet, patriarch of the House of Capulet
  • Lady Capulet, matriarch of the House of Capulet
  • Juliet, daughter of the Capulets
  • Tybalt, cousin of Juliet, nephew of Lady Capulet
  • Nurse, Juliet’s personal attendant and confidante
  • Peter, Sampson and Gregory, servants in the Capulet household
  • Rosaline (unseen), niece of Capulet with whom Romeo is in love



An ongoing feud between the Capulets and the Montagues breaks out again on the streets of Verona. Both sides are warned by Prince Escalus that they must not disturb the peace again, on pain of death.
Romeo, love-sick for Rosaline, is comforted by his friend Benvolio. Capulet forbids Paris to marry his daughter Juliet until she is older. Romeo and his friends learn of a party being held by the Capulets and decide to go to it as masquers. At the party, Tybalt sees Romeo but is prevented from fighting him by Capulet. Romeo meets Juliet and they instantly fall in love. After leaving the party, Romeo eludes his friends and returns to meet Juliet; they exchange vows of love. Romeo confides in Friar Lawrence and he consents to marry them.

Benvolio tells Mercutio that Tybalt has sent Romeo a challenge. Romeo joins them ad is visited by the Nurse, who is told of the marriage plan. When Juliet learns of it, she goes to Friar Lawrence’s cell, and the lovers are married. Tybalt, looking for Romeo, finds Benvolio and Mercutio. Romeo returns and is challenged by Tybalt, but refuses to fight. Mercutio draws on Tybalt, but is fatally wounded. Tybalt then fights with Romeo and is killed. Romeo flies and Benvolio reports the happenings to the Prince, who banishes Romeo.


The Nurse tells Juliet of Romeo’s banishment and promises to bring him to her. The Friar informs a distraught Romeo that he is banished, but advises him to visit Juliet secretly before leaving for Mantua.

Capulet tells Paris that he may marry Juliet in three days’ time; Lady Capulet brings the news to Juliet, who has just bade Romeo a hasty farewell. Juliet refuses to marry Paris, persisting in the face of her father’s anger. She goes to the Friar for help and finds Paris there, arranging the marriage. When Paris has left, thi friar devises a plan: he will give Juliet a drink that will make her appear dead, so that she can avoid marriage, and will write to Romeo to tell him; they can then elope to Mantua.

Juliet tell her father she will marry Paris, and Capulet bring the wedding forward to the next day. Juliet retires and drinks the liquid. When her ‘body’ is discovered, all mourn and she is taken to the family crypt. In Manuta, Balthasar tellsr Romeo that Juliet is dead. He vows to lie dead next to her that night and obtains a poison from an apothecary. Friar Lawrence learns from Friar John that his letter did not reach Romeo. Realising his danger, Lawrence leaves to explain to Juliet what has happened.

Paris goes to Juliet’s tomb to mourn her, and encounters Romeo. They fight, and Romeo kills Paris. Romeo then drinks the poison and dies beside Juliet. The Friar arrives to see Romeo dead and Juliet waking. She refuses to leave and kills herself with Romeos’ dagger. Officers arrive, then rouse the families and the Prince. The Friar explains what has happened. Montague and Capulet agree to make peace with each other.

  • Romeo, Gregory: Clement Charles
  • Juliet, Abraham: Georgia Christodoulou
  • Capulet, Friar John, Peter: Mark Elstob
  • Friar Lawrence, Montague, Capulet’s Servant, Accordionist: Richard Emerson
  • Mercutio, Prince: Filip Krenus
  • Nurse, Sampson: Jenni Lea-Jones
  • Tybalt, Paris: Nicholas Limm
  • Lady Capulet, Chorus, Apothecary: Amanda Osborne
  • Benvolio, Balthasar: Alexander Varey
  • Lady Capulet: Caroline Wildi

All other parts performed by the members of the cast.

CLEMENT CHARLES (Romeo, Gregory)

Clement will graduate from the Royal Birmingham Conservatoire this July. His first professional engagement was between the second and third years of his training at RBC, as Theo Martin in the sell-out debut run of Kids Play by BAFTA-winning writer Glenn Chandler. It received a string of five-star reviews and the coveted Broadway Baby Bobby Award for Best Play on the Edinburgh Fringe. Clement first performed at the Edinburgh Fringe in 2107 with a one man show written by English playwright Tom Wells, for which he received the Best Newcomer award at the Birmingham Theatre Festival. As part of his training at RBC, Clement enjoyed such roles as Marko in 3 Winters by Croatian playwright Tena Štivičić, Talthybius from Caroline Birds The Trojan Women, Alan Seymour in Picnic by William Inge and Konstantin in The Seagull. Clement will be returning to the Edinburgh Fringe this August to perform in the debut run of The Good Scout. Instagram: @clement.charles Twitter:@_clementcharles Facebook: @clementAcharles


Georgia trained at the Royal Birmingham Conservatoire and graduated in 2017. Theatre credits include: A Suffragette Story (Birmingham Museum and Art Gallery), A Family Affair (Vienna’s English Theatre), The Dutch Lady (Fred Theatre), Blood Wedding (RBC), Punk Rock (RBC), Careen – The True Story of Bonnie and Clyde (George Costigan), The Merchant of Venice (RBC), Tell Me About Your Ex 2 (The Old Joint Stock Theatre), I Love You, Goodbye (The Old Joint Stock Theatre), Tell Me About Your Ex (The Old Joint Stock Theatre)

MARK ELSTOB (Capulet, Friar John, Peter)

Mark trained at the Central School of Speech and Drama in London. He has worked all over the UK as well as Vienna, Lisbon, Berlin, Athens, Frankfurt and Jerusalem. Theatre work includes Twelfth Night, Romeo and Juliet, Henry IV Part One, A Midsummer Night’s Dream, Measure for Measure, Noises Off, Neville’s Island, An Ideal Husband and Hamlet (both directed by Sir Peter Hall), Salome (directed by Steven Berkoff), The Power of Yes at the National Theatre, Macbeth, Lend Me A Tenor, Moonlight and Magnolias, Venus in Fur, Present Laughter, The Lady in the Van, Thark, This Happy Breed, Pyrenees, Monarch of the Glen, Chicago and Travesties. Mark’s TV and film appearances include A Hazard of Hearts, The Monk, Lady Jane (directed by Trevor Nunn), Eastenders, The Bill, Peak Practice, Zeus in Gory Greek Gods, Emmerdale (playing the regular role of Andrew Fraser) and Inspector George Gently. Mark is a regular reader of Talking Books and appears in many audio dramas for Big Finish Productions, including Doctor Who, Torchwood and The Prisoner (as Number Six).

RICHARD EMERSON (Friar Lawrence, Montague, Capulet’s Servant, Accordionist)

Theatre includes Chess (ENO Coliseum, West End); Alain Boublil’s new musical Manhattan Parisienne (The Other Palace); A Chorus of Disapproval directed by Trevor Nunn (West End); Homer in Monteverdi’s il ritorno d’ulisse in patria (La Pietra, Florence); Les Enfants Terribles’ The Vaudevillains (Assembly, Edinburgh); UK Premiere of The First Man (Jermyn Street Theatre); Adolphus Cousins in Major Barbara (W52nd St Theatre, NYC); Hamlet (Salisbury Playhouse); A Midsummer Night’s Dream, Romeo and Juliet (Queen’s Theatre Hornchurch); The Taming of the Shrew (GSC); The Tempest (RETZ); Malvolio in Twelfth Night (Royal Touring); Macheath in The Threepenny Opera, Feste in Twelfth Night (Forest Forge). Film includes The Last Photograph directed by Danny Huston; Radio; the Prime Minister in The Offering; The First Man. Richard is delighted to be working again with Sean Aita, having appeared in Sean’s productions of Deathtrap (Jill Freud and Company); Lady Windermere’s Fan (Royal Theatre, Northampton); The Lost World, The Country Wife (Forest Forge); The Lie (Vienna).

FILIP KRENUS (Mercutio, Prince)

Filip trained at East 15 Acting School (BA Acting) and Drama Centre (MA in Classical European Acting). He set up Honey-tongued Theatre Productions in 2012 and is one of the co-founders of Midsummer Scene Festival. Theatre credits include: A Midsummer Night’s Dream, Hamlet (Midsummer Scene) and Twelfth Night (Midsummer Scene and Vienna’s English Theatre), School for Scandal (directed by Jessica Swale), The Winter’s Tale (LittleBIG Shakespeare), King Lear and Dido, Queen of Carthage (Greenwich Theatre), Bent (Landor/tabard), Orestes – Re-Examined (Southwark Playhouse), Peer Gynt (Riverside Studios), Hell Screen (Oval House), Richard III and Macbeth 8Faction Theatre Company), The Rivals (Camden People’s Theatre), Jane Eyre (Brockley Jack) and The Right Ballerina (directed by Matthew Gould). Films include Transmania and radio includes Gino Ginelli Lives (Wireless Theatre Company).

JENNI LEA-JONES (Nurse, Sampson)

Jenni Lea-Jones trained at the Webber Douglas Academy in London. Her recent theatre credits include Queen in Richard II in Germany, Mrs Austen in Jane Austen – the Musical, a UK tour, Ru in Come and Go performed in Paris, Shylock in The Merchant of Venice with Compagnia Colombari in Venice, Mistress Quickly in Merry Wives of Windsor and Titania in A Midsummer Night’s Dream (both Italian tours), Ibsen’s Peer Gynt and Hedda Gabler at the Riverside Studios in London, national tours of Britain with shows such as Gilbert and Sullivan’s The Mikado with Illyria Theatre Company, Jane Eyre with Blue Orange Theatre and international tours with shows such as Shakespeare’s Comedy of Errors for Theatre Set-Up. As well as narrating several audio books, Jenni’s radio credits include two series’ of Araminta Spook for BBC Radio 4.

NICHOLAS LIMM (Tybalt, Paris)

Nicholas trained at The Royal Central School of Speech and Drama. He has toured internationally with The Lord Chamberlains Men, YSC and Icarus Theatre Company. Most recently he completed a tour playing Hamlet. Other credits include: Jericho Creek (Cockpit Theatre) The Tempest (Cornucopia Theatre) The Gin Chronicles (Ed Fringe) Queen Lear (The Tristan Bates) and The Old Room (The White Bear). TV includes: Wings of War, Fear and Delight. He is Artistic Director of Ragged Crow Theatre Company and has written and directed plays in London including Angel Wings (Red Lion Theatre) and The Watching (The White Bear Theatre) He is delighted to be performing in such a wonderful festival.

AMANDA OSBORNE (Lady Capulet, Chorus, Apothecary)

Amanda trained at The Webber Douglas Academy in London. Theatre roles include Alice in Florian Zeller’s The Lie, Pamela Peabody in Ken Ludwig’s Fox on the Fairway, Mimi in A.R. Gurney’s Black Tie, Charlotte Payne-Townshend in John Morogiello’s Engaging Shaw, Veronica Fairchild in Rich Orloff’s A Capital Affair, Camille in David Foley’s Deadly Murder, Liz in Alastiar Beaton’s Feelgood and Patty in Arthur Miller’s The Last Yankee, all for Vienna’s English Theatre. Edna, Lynette Saxon and ArabellaLazenby in Ayckbourn’s trilogy Damsels in Distress, Mrs Sparsit in Stephen Jeffries’ Hard Times(Pitlochry Festival Theatre), Lady Loxfield in JB Priestley’s They Came to a City (Southwark Playhouse), Mary Titterington in the stage adaptation of James Kennaway’s epic Tunes of Glory (Middleground Theatre UK tour), Amanda in Noel Coward’s Private Lives, Susan in Mike Leigh’s Abigail’s Party (both for UKTT) Anna in Patrick Marber’sCloser (London Classic Theatre Company), Lampito in Germain Greer’s version of Lysistrata (BAC) and most recently Madame Hortense in Jean Anouilh’s The Orchestra (Omnibus Theatre). For London Shakespeare’s Globe she performed scenes and speeches, playing Falstaff, Hermione, Horatio and Richard II, in All Places that the Eye of Heaven Visits, in Westminster Abbey.

ALEXANDER VAREY (Benvolio, Balthasar)

Alexander is a Yorkshire-bred actor and musician, who trained at the Guildford School of Acting. Theatre credits include: Much Ado About Nothing (Antic Disposition; UK & French Tour / Gray’s Inn Hall, London); The Adventures of Robin Hood (Brighton Open Air Theatre); The Legend of King Arthur (Guildford Shakespeare Company); One Man Two Guvnors and The Complete Works of William Shakespeare [abridged] (The Old Joint Stock Theatre); Romeo & Juliet and Hamlet (Young Shakespeare Company, UK & Gibraltar Tours); Shakespeare’s Yorkshire (Think:Light Theatre); A Midsummer Night’s Dream (Lancaster Castle Open Air); The Taming of The Shrew (Lancaster Prison). Film credits include: The Walk to Dunkirk (Fresnel Film Productions / Amazon Prime Video); Maria’s Place (Dove Films); The Wastelander Chronicles (Dream It & Blue Yonder Productions). Alexander is also one half of Country/Pop duo Northern Souvenirs.

CAROLINE WILDI (Lady Capulet, Chorus)

Our wonderful Amanda Osborne has to bow out of ‘Romeo & Juliet’ due to an injury. Amanda was replaced by Caroline Wildi to take over the parts of Chorus and Lady Capulet.

Caroline trained at Mountview Theatre School. Theatre work includes: The Cherry Orchard ( Union Theatre) The Passing of the Third Floor Back (Finborough Theatre), An Inspector Calls (UK & National Tour), Much Ado About Nothing, Romeo and Juliet (Royal Shakespeare Company), That Face (Landor Theatre), Paper Dolls (Tricycle Theatre), Ting Tang Mine, Fathers and Sons (National Theatre), Mansfield Park (Chichester Festival Theatre), Private Lives, Blithe Spirit (Hornchurch), The Dice House (Coventry Theatre), I am a Camera (Rosemary Branch), The Admiral Crichton (Haymarket Theatre Royal), Making Dickie Happy (Croydon Warehouse) Voyage Around My Father, Hay Fever, Joking Apart, Chorus of Disapproval (Southwold), The 39 Steps, Deathtrap (Aldeburgh), The Return of AJ Raffles (Watford Palace), Breathless (Canal Cafe), A Wake For Miss Montreal (Chelsea Centre) and The Woman Who Cooked her Husband (Chester). Voice work includes: Agatha Christie’s 1,2,3, Buckle My Shoe, Taken at The Flood (Radio 4 Classic Series), Drums Between The Bells (Produced by Brian Eno)
Television includes If I Had You, The Marchioness Disaster, Here After, EastEnders, 40, The Bill, Small Objects of Desire and Brookside. Film includes Harry Potter and the Half Blood Prince, Two Brothers, The Night of a 1000 eyes, Necropolis. Shorts: Full English (best actress Lift Off), Lipstick and Letterbox, The Bris, Dad Joke (2019).

  • Executive Producers (Brilliant Events): Darija Mikulandra Žanetić & Jelena Maržić
  • Creative Producer (Honey-tongued Theatre Productions): Filip Krenus
  • Director: Sean Aita
  • Set and Costume Designer: Maira Vazeou
  • Fight Director: Erica Gould
  • Choreographer: Claire Camble-Hutchins
  • Lighting Designer: Aleksandar Mondecar
  • Stage Manager: Virginia Bolfek
  • First Assistant Stage Manager: Andrea Marić
  • Second Assistant Stage Manager: Darija Rački
  • Hair and Make Up: Ivana Pleša
  • Light System: Nikola Kapidžić, Antonio Ljubojević
  • Sound System: Milan Tomašić, Fifi sound
  • Technical Manager: Darko Ivanković, Studio DI
  • Graphic & Web Design: Davor Pukljak
SEAN AITA (Director)

Sean Aita is delighted to be here in Dubrovnik at the beautiful Fort Lovrjenac. Sean is an award-winning professional director, and playwright who trained originally as an actor at the Bristol Old Vic Theatre School. As Associate Director at the Royal Theatre Northampton, Sean won the Checkout Theatre award for his play Yallery Brown, co-produced with Forkbeard Fantasy which subsequently transferred to Greenwich Theatre. Sean was Artistic Director and Chief Executive Officer of the celebrated regional touring theatre company Forest Forge, where his work was short-listed for the Stage Awards for Achievement in Regional Theatre. At Forest Forge he produced the company’s first ever international co-production with Theatre Newfoundland and Labrador. As a writer Sean’s play Bin-it won the live event category of the International Visual Communications Association Clarion awards, recognising best practice in communicating the importance of CSR, sustainable development, social inclusion and ethical debate. Sean is a Fellow of the Higher Education Academy London, a board member of BH Live, one of the largest entertainment and leisure groups in the South West of England, and a member of Trinity College London’s drama examination panel. He has had an artistic association with Vienna’s English Theatre for the past thirty years, both as a writer and director, and recently directed a highly acclaimed production of Florian Zeller’s The Lie for the theatre’s main house.

FILIP KRENUS (Creative Producer  – Honey-tongued Theatre Productions)

When Filip formed Honey-tongued Theatre Productions in 2012, he aimed to create a cultural bridge between the United Kingdom and South-Eastern Europe. He produced the first festival of Croatian contemporary drama in London Short Shrift , which was sponsored by the Croatian Ministry of Culture and the Embassy of the Republic of Croatia in the United Kingdom. The event featured five top Croatian playwrights and brought to London some of the best young Croatian actors and directors. He has launched Honey-tongued READINGS – a series of rehearsed readings of both British and South-Eastern European plays and has set up Honeybear Youth Theatre, the children’s theatre branch of Honey-tongued Theatre Productions. Hedgehog’s Home was its first production. In 2015 Filip has set up LittleBIG Shakespeare workshop series for young audiences. In Croatia, Filip has collaborated with several theatre companies. He has translated the comedy The Complete Works of William Shakespeare – Abridged for Teatar EXIT, one of the most acclaimed Croatian theatres. The translation served as a basis for the Croatian version of the project for which he was also assistant director. He also translated the works of the following playwrights into Croatian: Steven Berkoff, Jim Cartwright, Philip Ridley, Briony Lavery, Clare Dowie and Langford Wilson. For Short Shrift, he translated into English the plays by Croatian playwrights Vlatka Vorkapić and Dino Pešut. He is currently working on producing the UK premiere of Gloria by Ranko Marinković, a Croatian classic play which he has also translated into English. He has translated into English the comedy Uncle Maroje by one of the greatest Croatian and European Renaissance playwrights Marin Držić. Filip also translates for audio-visual media (Croatian National Television).

MAIRA VAZEU (Set and Costume Designer)

Maira is a stage designer, working in theatre, opera and films. She trained at the Central School Of Speech and Drama. She is selected as one of the designers to represent Greece at the prestigious international exhibition of scenography Prague Quadrennial in 2019. She has designed theatre shows and operas in UK and abroad in venues such as Lilian Baylis Studio – Sadler’s Wells, National Theatre Of Greece, Odeon of Herodes Atticus, Wiltons Music Hall, Belgrade Theatre, National Theatre Of Northern Greece, Theatre Organisation Of Cyprus, Finborough Theatre, Riverside Studios, Hoxton Hall as well as shows for the Edinburgh, New York and Prague Fringe Festivals and operas for Ryedale Festival. She has collaborated with Drama Colleges such as The Royal Central School Of Speech & Drama and Mountview Academy of Theatre Arts designing various end of year student productions and taught lessons at University of the Arts London – Camberwell College Of Arts. In the film industry Maira has worked as a set dresser in many productions at Pinewood, Shepperton and Elstree Studios.

ERICA GOULD (Fight Director)

Fight Directing credits include Morning Sun (West End Theatre, NYC); Battalia with dancers from NYC Ballet (Salon/Sanctuary, NYC); The Half (Edinburgh Festival Fringe); Chekhov in Hell (LIPA); Stunt Coordinator for the award-winning film Eggs and Soldiers.  As director/fight choreographer:  UK premiere of Antigone by Neil LaBute (GSA); Max and the Truffle Pig (NY Musical Theatre Festival); Troilus and Cressida (NY Stage & Film); As You Like It (Shakespeare Theatre/ACA, DC); The Tempest (Fordham/Lincoln Center); The Rover (Bank Street Theatre, NYC); ‘Tis Pity She’s a Whore (LAMDA); In the Madhouse (E15); Lock Up Your Daughters (Bridewell/LSMT); Nobody’s Girl (NJ Rep); Anna Ziegler’s The Minotaur (The Fire Dept, NYC); Emmett Down in My Heart (Castillo Theatre, NYC).  Erica served on the Society of Stage Directors and Choreographers’ Fight Steering Committee, and has taught stage combat for NY Conservatory of Dramatic Art, Identity School of Acting (London), Macrobert Arts Centre, Red Bull Theater, Arts University Bournemouth, others.


Claire trained at the Guildford School of Acting. She became a Freelance Choreographer based in London for many years, working in regional Theatre, Film and Television. She has fond memories of working with Sir Laurence Olivier rehearsing Vaudeville routines for his final ITV Granada television series Lost Empires and teaching Christopher Lambert and John Turturro to jitterbug in Michael Cimino’s film The Sicilian. In the corporate world she has brought to life vacuum cleaners, washing machines, fridges and freezers for Electrolux, windows for Everest Double Glazing and dancing cars on air castors for Renault. For many years now she has lived on the South Coast of England teaching, directing and choreographing in and around Dorset, most prolifically for Canford School and for the Arts University Bournemouth. Claire has worked as director and choreographer for many local Societies over the years including BBLOC, BOS, All Saints, Caught in the Act, Wand’rin Minstrels, Curtain Up, Impact Theatre and Bournemouth G&S. Claire is delighted to be asked to choreograph the Midsummer Scene production of Romeo and Juliet and to be working with Director Sean Aita again.


Aleksandar grew up in the theatre and has spent 35 years in professional theatre lighting. He has worked with almost every director, set designer, choreographer and costume designer in Croatia, as well as many creatives from abroad and has designer for all the theatres and cultural cnetres in the country togheter with numerous theatres abroad, having a total of over 800 shows to his credit. He has worked with the Histrions Theatre, Zagreb for over twenty years on all their projects, as well as with many groups and festivals such as International Theatre Festival Jerusalem, International Theatre Festival Berlin, International Street Festival Graz, International Festival Gent and many more. He has held a series of seminars on stage lighting and taught at Liverpool Institute of Performing Arts in 1996. Aleksandar has won several awards and prizes, including the prestigious ‘Varaždin Baroque Evenings’, and special lighting design awards from NAJ festival and the ASSITEJ (International Association of Theatre for Children and Young People). His contribution to the development of culture in the Republic of Croatia earned him the personal appreciation of the Minister of Culture. Aleksandar wrote the first book about lighting design in Croatia – Introduction to Theatre Lighting which was published in 2000 and he is a Member of the Community of Croatian Artists since 2001.

Author: Vesna Parun / Author of the drama text and performance: Vesna Tominac Matačić / Director: Ivan Leo Lemo / Producer: Tatjana Aćimović / Translation of the drama text into English: Ellen Elias Bursać / Music: Ozren K. Glaser, Zvonimir Dusper / Costume design: Dies Gaudii, Mirjana Zagorec / Stage design: Vesna Režić, Ivan Leo Lemo / Light design: Miljenko Bengez / Photography and video: Dario Hacek / Technical managers: Saša Fistrić, Tomislav Božić / Produced by: Zagreb Actors’ Atelier in collaboration with &TD Theatre, Department of Culture of the Student Centre in Zagreb / Project was supported by: City of Zagreb and Ministry of Culture of the Republic of Croatia


About a year before her passing, Vesna Parun published a summary of her oeuvre titled I, Who Have Hands More Innocent. In the foreword of this comprehensive, asynchronous selection, Vesna asserted: “…alongside this river of language, another one – silent, unmarked, and motherly – flows from the same source and in the same direction. This river is life itself. This is myself and my destiny as a cosmic enigma, ethnic equation, bio-spiritual chaos.”

This textual ‘patchwork’ of a unique life – which unfolds on the stage from birth as an emotionally-packed, one-hour psychoanalytical séance – arose from the extensive oeuvre of Vesna Parun which, just as her life, was contained in the famous forty bags that were mostly unavailable to the (dis)interested scientific researchers, ruling structures, cultural institutions, readers and future generations poraries of common climate, same patriarchal umbrella, and mother tongue, are revealed in confessional, diary form, in first person narrative, through lesser-known autobiographic records of the poetess. When denuded in this manner, the life in this case represents a foundation to major works of poetry that do not age over generations, but rather inspire, enrich, purify and remedy time and time again.

27th June 2019 at 9:30 pm / Fort Lovrjenac

Performed in Croatian with English subtitles


“Vesna Matačić’s delivery of this vocally and physically demanding role is remarkable, as is fact that the two artistic mediums augment one another so well.” – JANE BERG, ThreeWeeksEdinburgh

“The language is strong, and it’s clear that Parun took no prisoners in her search to speak the truth about her life. Matacic is more than up to the demands of the role.” – EDDIE HARRISON, The List

“Go see” – ThreeWeeksEdinburgh

“… powerfully embodied…” – The List

Grand prix – 17th International Monodrama Festival Bitola 2015


6th June 2019 at 9:30 pm / The Rector’s Palace

‘Outstanding cabaret’ – TIME OUT Critic’s Choice

‘Genius songs… with witty choruses and satirical verses… a force to be reckoned with’ – THREE WEEKS

Sarah-Louise Young and Michael Roulston are coming to Dubrovnik fresh from a season in New York as part of Brits off Broadway. They have been writing partners for twelve years. Their award-winning work has been performed internationally including New York, Toronto, Kuala Lumpur, Berlin and the prestigiousAdelaide Cabaret Festival. Roulston & Young appear regularly on the London cabaret scene,singing in venues such as Café de Paris, Hippodrome Theatre and The Elgar Room at the Royal Albert Hall. They won Best Musical Variety Act in the London Cabaret Awards and were named one of Time Out’s Top Ten Cabaret Acts. Their 2016 Edfringe hit Je Regrette! won them The Edinburgh Stage Award and along with Roulston & Young: Songs For Lovers (And Other Idiots) enjoyed sold out runs at Live At Zedel in Piccadilly.

Midsummer Scene and the Dubrovnik Symphony Orchestra present The World Music Day Concert

  • Traditional: Dubrovačka kontradanca
  • M. Meštrović: Neka uđu
  • I. Robić: Samo jednom se ljubi*
  • J. Gotovac: Ero s onoga svijeta (završno kolo)*
  • M. Nardelli: Pjesma Dubrovniku*
  • WORLD PREMIERE M. Meštović: New England Rhapsody

*arr: D. Butigan

Dubrovnik Symphony Orchestra
Conductor: Noorman Widjaja (Indonesia)
Piano: Matej Meštrović

In front of St. Blaise Church
21st June 2019 at 9:00 pm


7th July at 9:30 p.m. / The Rector’s Palace

Adapted and directed by Paolo Tišljarić,
based on Uncle Maroye by Marin Držić, translated by Filip Krenus
Composer: Žarko Dragojević, Sound design: Milan Tomašić

Marin Držić is one of the greatest European Renaissance playwrights, and a Dubrovnik native. The rearranged fragments of the play are set at Rector’s Palace, where the comedy was first performed in 1551. This project has been included in the main programme of Gdańsk Shakespeare Festival 2019.Uncle Maroye, Bokchilo, Maro, Laura, Sadi, Ugo, Scoffer Feast and Petruniella become modern people, driven by the motives contained in their Renaissance characters. Our adaptation of the text cuts radically into the structure of this classic text, searching within it the space for a brave interplay on the stage. We will return Držić’s plot from Rome to Dubrovnik, placing it in the context of a decadent party (centered around an opuletly set banqueting table), that will culminate with the most famous prologue in Croatian theatre history – the prologue of Long Nose – which opens the end of the show to different interpretations of this classical text. The ​play has been translated  by Filip Krenus and it will be performed in English, bringing Držić closer to the public.

A co-production of House of Marin Držić, Marin Držić Theatre and Midsummer Scene Festival, directed by Paolo Tišljarić and performed by the Festival ensemble.