When a play goes into production, it is being read by many different people: the director, the designer, the actors, the stage management, the publicity staff and several others. Each of these people makes the text they want to realize through the production, and audiences and critics have little problem with this because they assume that there will be different interpretations of the play, as there are different people involved. But there are some odd aspects of this acceptance that we found ourselves negotiating as we tried to bring together literary criticism with theatre practice and with the editing of Romeo and Juliet.