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Protean Shakespeare thrives not only in the theatre, but also through what Bolter and Grusin call remediation. This article analyses the religious stances in the play and then shows how opera, symphony and musical have been adapting the veteran Elizabethan drama since the 18th century. Its main approach is comparative and relies on the history of mentalities. Adaptation is dictated by cultural context, the conventions of the lyrical theatre, social and political factors, and reception. The confusing religious configuration of Shakespeare’s England is reinterpreted kaleidoscopically. The article demonstrates, for instance, that Berlioz and Gounod reread it according to staunch Catholicism in 19th century France, while Bernstein’s West Side Story moves the action to New York in the mid- 50’s, the Capulets and Montagues are replaced with rival Polish and Puerto Rican gangs and religion with cultural identity

Religion and Cultural Identity in Shakespeare’s Romeo and Juliet and the Musical Works it Inspired