I conceived the CAPULET project in Boston during the summer of '92 when I was producing my first Shakespeare (Romeo and Juliet), staged at the Huntington Theatre Studio and sold out before we opened. That was when the notion of a prequel was born that would reveal how the famous families came to be at each other's throats. Started at the end of the pandemic, the full story frame for CAPULET (all 6 books) was written over 4 years (writing 7 hours a day / 7 days a week - give or take just 5 or 6 days) and almost exclusively at Brisbane Square Library in Australia.
The finishing process of polishing and proofing all (completed part-time after my nest egg for funding had finally been exhausted) took me another year. And so ... it was done. For the trivial record, my first experience performing was in the primary school choir which led me to playing the guitar and a life long association with music. My first experience with Shakespeare however was as a punishment in my last year of high school.
I was given 'detention' for fighting (a bully was harassing a friend and though I'm no hero I intervened). The English Mistress had caught us locked together in (less than mortal) combat and during my detention 'made me' memorize the 'quality of mercy' monologue from The Merchant of Venice. It had to be 'word perfect' to avoid another stay. I recited it. She told me it wasn't word perfect, but said I was 'good' and would 'let me off' if I agreed to audition for the play.
I was shy, but didn't want another detention, so I did audition and miraculously offered the lead. That led me to a BA in Drama at the University of Queensland. UQ led to a BFA in Acting at Cornish College in the USA which led to specialized study at the National Shakespeare Conservatory in NY (closed after 9/11) and finally an MFA in Directing at Boston University. Along the way I practised equestrian skills, martial arts and ballet (classical jazz), became a professional fight choreographer and specialised in directing classics.
Within a year of returning to Australia I founded the Society of Australian Fight Directors and the Australian Performing Arts Conservatory. Fast forward 25 years and I embarked upon this project. I hope their tale moves you. I found CAPULET very moving to write. Forever YoursMarcus Hogan
The finishing process of polishing and proofing all (completed part-time after my nest egg for funding had finally been exhausted) took me another year. And so ... it was done. For the trivial record, my first experience performing was in the primary school choir which led me to playing the guitar and a life long association with music. My first experience with Shakespeare however was as a punishment in my last year of high school.
I was given 'detention' for fighting (a bully was harassing a friend and though I'm no hero I intervened). The English Mistress had caught us locked together in (less than mortal) combat and during my detention 'made me' memorize the 'quality of mercy' monologue from The Merchant of Venice. It had to be 'word perfect' to avoid another stay. I recited it. She told me it wasn't word perfect, but said I was 'good' and would 'let me off' if I agreed to audition for the play.
I was shy, but didn't want another detention, so I did audition and miraculously offered the lead. That led me to a BA in Drama at the University of Queensland. UQ led to a BFA in Acting at Cornish College in the USA which led to specialized study at the National Shakespeare Conservatory in NY (closed after 9/11) and finally an MFA in Directing at Boston University. Along the way I practised equestrian skills, martial arts and ballet (classical jazz), became a professional fight choreographer and specialised in directing classics.
Within a year of returning to Australia I founded the Society of Australian Fight Directors and the Australian Performing Arts Conservatory. Fast forward 25 years and I embarked upon this project. I hope their tale moves you. I found CAPULET very moving to write. Forever YoursMarcus Hogan









