Romeo and Juliet (by William Shakespeare; a Dwight Deere Wiman production) seems Jess a play, to the world at large, than a great romantic legend. To the theater, it seems less a play than a part. No one produces it out of enthusiasm for its story alone. No one goes to see it because the Romeo is good, or stays home because he isn't. Everything centers on its not quite 14-year-old heroine; for lady stars, Juliet is a final goal and often a graveyard. There is a double hazard: the part demands the maturest art, must convey the most dewy fragrance.
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