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From School Library Journal

January 1, 2012

Gr 6 Up-There is no shortage of graphic-novel adaptations of Shakespeare for teens. Often the process of rendering the language accessible will strip the text of its beauty, the result becoming noticeably awkward. This version of Romeo & Juliet has suffered such a fate, with numerous narration boxes standing in for expository dialogue and lines like "I'll try to like him, Mother, and hope in getting to know him that he will inspire my love." A teen-friendly, expressive illustration style makes this book easier to look at than to read. With its broad comedy and frenetic activity, Midsummer Night's Dream fares better. The drawing style is manga-inspired: characters have big eyes and hair, exaggerated expressions, and a lot of teeth. Color palettes and backgrounds are harmonious, with appropriate color distinctions between the magical forest scenes and Theseus's palace. Occasional editing gaffes undermine the effort, but all in all, these are serviceable graphic-novel adaptations.-Paula Willey, Baltimore County Public Library, Towson, MD

Copyright 2012 School Library Journal, LLC Used with permission.

From Horn Book

January 1, 2012
Color by Fares Maese. Brevity and simplicity are the operating principles in this greatly reduced graphic novel retelling. Only the colorful and competent (but hardly memorable) art lends the tale life in this version. Although this abridgment may be harmless, it's difficult to see the point in introducing children to a master of language by removing all the verbal flare and variety from his work.

(Copyright 2012 by The Horn Book, Incorporated, Boston. All rights reserved.)

From School Library Journal

November 1, 2010

Gr 8 Up-Abiding by the premise that the text is supreme, Newlin's cuttings reveal the stories through the use of original dialogue and short connecting narratives to compensate for missing scenes. Each adaptation is accompanied by simple stage directions and a prop list. A sample program indicates possible double-casting of roles, and Newlin's personal notes on the pros and cons of his own high school production will embolden neophyte directors. A preface explains the origins of Newlin's adaptations, and an essay on "Performing Shakespeare," which follows the text, includes rehearsal suggestions and a discussion of the application of Aristotle's six elements of drama. A good bibliography of print and online resources completes the work. Newlin's prose is clear and explanatory, stressing the importance of understanding Shakespeare's words and of granting license to the young actors' own ideas. Problems do occur, however, with the adaptations themselves because large sections of the plays have been omitted to accommodate the time frame, and the scenes do not always follow their original order. For example, in Midsummer, readers learn that Puck has engineered Titania's falling in love with an "ass," but Oberon's reasons for wanting to humiliate her are never divulged. Geared to an older audience than Carole Cox's Shakespeare's Kids (Libraries Unlimited, 2009), Newlin's titles maintain Cox's philosophy of empowering young actors with Shakespeare's own words and could serve well as introductory texts for simple productions if additional narratives are supplied.-Nancy Menaldi-Scanlan, The Naples Players, FL

Copyright 2010 School Library Journal, LLC Used with permission.

From Publisher's Weekly

October 2, 1996
Coville follows up his version of The Tempest (see p. 84) with a retelling of another of Shakespeare's most popular plays. The fundamental story of magic, mischief and the trials and tribulations of love is preserved through well-chosen use of the original language and Coville's heady prose ("The queen... saw the ass-headed monstrosity through magic-drenched eyes"). Major plot lines are clearly and concisely rendered, but it is the portrayal of the various levels of humor-from Bottom's buffoonery to Puck's gleeful magic-making-that really captures the essence of the play. Nolan's (Dinosaur Dream) sumptuous, painterly watercolors highlight the theatrical setting of the spellbound wood. Gnarled, mossy trees provide the backdrop for a cast of unusually youthful lovers, gossamer-winged fairies (which nod at Rackham's famous interpretations) and a truly puckish Puck. A first-rate entree to the Bard. Ages 7-up.

From AudioFile Magazine

A narrator helps compress the action of Shakespeare's charming comedy into less than an hour, telling us what's occurring and then letting the characters give us their better-known scenes. The program, "from the archives of CBC Radio," has a copyright of 2003, but judging by the acting (Hermia reminds one more of Virginia Mayo than Judi Dench) and music (composed for this program, and quite enjoyable), it was recorded in the early '50s at the latest. Still, the acting runs from adequate to excellent, and the narration is polished; the whole will make a pleasant, if abbreviated, version of the play for those who find its age quaint rather than off-putting. W.M. (c) AudioFile 2005, Portland, Maine