Shakespeare ‘Funnery’ Camp Was a Magical Experience
By Cornelia Cesari

"Romeo, I come! This do I drink to thee," moans Juliet, before she gulps down the friar’s poisonous brew and collapses, as if dead, on her bed. She plans to feign death, be placed in the family tomb, then awaken and run away with Romeo. Of course, the trick backfires and the tragic ending, adapted countless times in the 400 years since, played out again in the Chelsea Town Hall (rained in from its outdoor amphitheater) Saturday, July 19 and Sunday, July 20.

The cast links hands and bows in a curtain call; the audience roars its approval and rises in a standing ovation. Clapping heartily, strangers and acquaintances, many with moist eyes, are exchanging wondering looks of amazement, asking each other, "How on earth do they do it?"

"They" is a cast of local children (aged 11-14) and three dynamic counselor/directors, and what they have done is to read, internalize, practice and perform a full production of "Romeo and Juliet" in a mere two weeks.

It seems there must be some secret magic happening at Get Thee to the Funnery camp. In just nine days, these 14 camper/actors (some of whom have never performed) have memorized 45 pages of original text and created a production which is true to its 400-year-old essence, while integrating touches which mark this version as their own. The script is enhanced by strains of violin, clarinet, and bugle-kazoo. The Capulets’ party pulses with salsa drumbeats and tango steps. Romeo and his pals exchange hip handshakes and offstage Romeo croons, "Why must I be a teenager in lo-ove?" These anachronisms blend remarkably well and serve only to demonstrate the fact that these adolescents have not only mastered the script but internalized it.

Some campers play four or five characters: Juliet is played by five different actresses. In the introductory remarks, the counselors advise, "Follow the costumes. They stay with the character. Trust us—it works."

When asked directly to reveal their secrets, the counselors share various responses, but fail to reveal their magic wands. Counselor Kailie Larkin says, "The magic is creating a safe place for kids to totally express themselves, support each other and have fun. Everyone on stage wants each person to succeed. They thrive on the support of all that positive energy."

"We ask them to be generous with each other, generous with their bodies and their energy," said Sophie Wood. "They encourage each other unconditionally and in the process, they come to understand their own potential."

So if the point isn’t actually the play, why Shakespeare? Clearly the counselors love the work of the Bard, but that isn’t all. Larkin explains, "We do Shakespeare because it is the mentality in our culture that Shakespeare is ‘the highest bar.’"

The campers certainly rise to that bar, and enjoy doing it. The youngest camper at 11 years old, Ella Williams, who commuted from Gaysville, gushed, "I wish it had been a month!"

Eesi Galdone of Chelsea, who has participated in four of the seven years of Chelsea Funnery, is following the camp to its next location in Craftsbury, to do it again.

Wood notes, "We do Shakespeare because it is thought of as the highest art form. Kids see it as something for austere elderly British men, something that they might understand someday. But the truth is, it was written for the masses." The themes are timeless, the characters driven by universal emotions. After all, Romeo and Juliet are the age of some of these performers.

"Something about Shakespeare really appeals to kids this age. It is such high drama, so over-the-top. These kids are emerging as individuals, experiencing new emotions and overflowing with energy. There isn’t always an outlet for that at school."

"The ability to translate Shakespeare into their own words is so empowering," says Larkin. "Then we ask them what they’d like to do. What instruments do you play? What roles would you like? Why are you here?"

Counselor Aaron Kagan, like his colleagues, used the word "accessible" for the campers, but also for the community. He enjoys audience reactions like, "I didn’t know Shakespeare could be so much fun!" and "Who knew Romeo and Juliet had so much comedy?" At the performances, the audience is encouraged to join in the Globe Theatre-like rowdiness, prompted on occasion with large cue cards commanding "GASP," "ha-ha-ha," "HOORAY!" and "BOOOO!"

Kagan credits the kids’ high quality performances to their unbridled physicality and also their thorough understanding of the story. "These actors know exactly what’s going on with every part of the script." They internalize the story, they understand the characters and their motivations, and they empathize with the emotions. This comes through in their performances on stage. Kagan, like the other counselors, won’t take credit for the magic of the Chelsea production, although clearly their charisma and energy is a large part of the kids’ inspiration.

"I watch the shows," glows Kagan, "and at moments I think, ‘It truly doesn’t get any better than this.’ Really, the Royal Shakespeare Co. doesn’t have anything over these kids."

The three counselors love what they do and want to come back to Chelsea year after year. They are committed to keeping Shakespeare, through Get Thee to the Funnery camp, accessible for all the kids in central Vermont. No one is turned away for financial reasons; the counselors are deeply committed to the scholarship fund.

"Growing up in Vermont," reflects Larkin, "we benefited from scholarships for summer arts programs which dramatically changed our lives. We know how meaningful an experience like this can be."

Anyone interested in sharing the magic by supporting the scholarship program or receiving information about the camps should email chelseafunnery@gmail.com.

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