Romeo and Juliet: listening answers and explanations
Drama students Ed and Gemma compare notes on productions of Romeo and Juliet they've seen. They agree what their reviews should cover, give their views on the set, lighting, costumes, music and acting at The Emporium Theatre, and discuss why the play still matters.
Questions 21-22 come first, when they plan the review. 'So what about The Emporium Theatre's production' starts 23-27, in the printed order. Questions 28-30 follow as they talk about relevance, watching in translation and Shakespeare's international appeal.
Answer key and self-check
Type what you wrote and hit mark. Hide the key first if you haven't done the part yet. Every question number jumps to its explanation.
How to attack this block: The question asks what they agree to include. Three options are mentioned but ruled out: the plot is already known, textual analysis belongs in an essay, and the theatre space won't fit in 800 words. Keep the two they actually commit to.
Question 21-22
Answer: D and E (in either order)When Ed asks how much information they should include
Which two things do both students agree belong in their reviews?
part of that means talking about the emotional impact the performance had on us. … And we should definitely mention how well the director handled important bits of the play - like when Romeo climbs onto Juliet's balcony.
Question says → You hear
a personal reactionthe emotional impact the performance had on us
particular scenesimportant bits of the play - like when Romeo climbs onto Juliet's balcony
Why: D: the emotional impact on them is a personal reaction, and Gemma says 'Yes'. E: the balcony scene and Ed's 'the fight between Mercutio and Tybalt' are particular scenes.
The trap: C is the most tempting: Gemma says the theatre space would be interesting, but there's no room in 800 words. A (the poetry and imagery) is for essays, and B is out because everyone knows the story.
Matching (A-G)
Questions 23-27
How to attack this block: Seven opinions for five aspects, so two are spare. Every option says 'both', 'agree' or 'disagree', so listen to how the second speaker reacts to the first. A 'me too' or 'that's a good point' tells you they agree; a 'but' tells you they don't.
Question 23
Answer: DFirst aspect, when Ed asks 'What about the set'
What do they think of the set?
I'd say that was probably the most memorable thing about this production. … You're right. The set design was really amazing
Question says → You hear
a major strengththe most memorable thing about this production
Why: Gemma calls it the most memorable thing and Ed says 'You're right', so they agree it was a major strength: D.
The trap: B (original) is ruled out when Ed adds 'I have seen similar ideas used in other productions'.
Question 24
Answer: CStraight after the set, when Gemma brings up the dim scenes
What do they think of the lighting?
I didn't dislike it. It helped to change the mood of the quieter scenes. … That's a good point.
Question says → You hear
the right atmosphereIt helped to change the mood of the quieter scenes
Why: Ed says it changed the mood of the quiet scenes, and Gemma accepts it with 'That's a good point'. Mood is atmosphere: C.
The trap: Gemma starts by complaining it was hard to see, which suggests E or F. But she comes round to Ed's view, so they end up agreeing.
Question 25
Answer: AWhen Ed asks about the costumes
What do they think of the costumes?
I was a bit surprised by the contemporary dress, I must say. … I think it worked well, but I had assumed it would be more conventional. … Me too.
Question says → You hear
expected ... more traditionalI had assumed it would be more conventional
Why: 'Assumed it would be more conventional' means expected it to be more traditional, and Gemma's 'Me too' makes it both of them: A.
The trap: Ed says it worked well, which could suggest a strength (D). But the point they share is the surprise, not the praise.
Question 26
Answer: ERight after 'Me too', when Gemma moves on to the musicians
What do they think of the music?
I thought they were wasted because the music didn't have much impact in Acts 2 and 3. … Yes - that was a shame.
Question says → You hear
both disappointedI thought they were wasted … that was a shame
Why: Gemma feels the musicians were wasted, and Ed agrees it was a shame. Both are disappointed: E.
The trap: Gemma first says she liked the music at the beginning and the musicians were brilliant. The 'but' after that leads to the real opinion.
Question 27
Answer: FThe last aspect, when Gemma raises 'one problem with this production'
What do they think of how the actors delivered their lines?
They were speaking too fast. … It was a problem I agree, but I thought it was because they weren't speaking loudly enough
Question says → You hear
disagree about whyIt was a problem I agree, but I thought it was because
Why: They agree it was a problem but give different reasons: speed for Gemma, volume for Ed. Gemma adds she had no problem with the volume: F.
The trap: G (how it could be improved) is close, but they argue about the cause, not a fix. E is wrong because they don't share the same complaint.
Multiple choice
Questions 28-30
How to attack this block: Each question has one option that is close to something said but not quite the point. Wait for the speaker who sums up: Gemma's 'that's something all young people can relate to', 'that somehow intensified the emotion', and 'understood on different levels'.
Question 28
Answer: BWhen Gemma says the play made her realise how relevant it is
Why is the story still relevant to young people?
There are always disagreements and tension between teenagers and their parents. … Yes, that's something all young people can relate to
Question says → You hear
problems ... families experiencedisagreements and tension between teenagers and their parents
Why: Tension between teenagers and parents is a family problem, and Gemma says all young people relate to it: B.
The trap: A is tempting because of 'disagreements' and 'violence', but Gemma says young people relate to the family tension 'more than the violence'.
Question 29
Answer: CWhen Ed asks 'How did you find watching it in translation'
How did they find watching the play in another language?
I expected to find it more challenging, but I could follow the story pretty well. … The ending was pretty powerful. … That somehow intensified the emotion for me.
Question says → You hear
movingThe ending was pretty powerful … intensified the emotion
Why: The powerful ending and the intensified emotion mean they found it moving: C.
The trap: B (demanding) is what Gemma expected, but she could follow it fine. Ed stopped worrying about the words, so it wasn't frustrating (A) either.
Question 30
Answer: CAfter Ed says Shakespeare has been translated into more languages than any other writer
Why do Shakespeare's plays appeal around the world?
they can also be understood on different levels. The characters have such depth. … Right - which allows directors to experiment and find new angles.
Question says → You hear
interpreted in many waysunderstood on different levels … find new angles
Why: 'Understood on different levels' and directors finding 'new angles' mean the plays can be interpreted in many ways: C.
The trap: B is close: 'basic themes that people everywhere are familiar with' and characters with depth. But they never say the characters are recognisable; the depth is what allows different readings.
Ed calls the set amazing, which sounds like 'original' (B). But he adds he's seen similar ideas elsewhere, so it isn't original. They agree it was the most memorable thing: a major strength.
Gemma 'expected to find it more challenging', which makes people tick 'demanding'. It wasn't. The powerful ending that intensified her emotion makes it moving.
Words from this recording worth keeping
imagery(Planning the review)
language that creates pictures in the reader's mind
emotional impact(Planning the review)
the strong effect something has on your feelings
visually stunning(The set)
extremely beautiful or impressive to look at
dimly lit(The lighting)
with very little light
contemporary(The costumes)
modern, of the present time
conventional(The costumes)
traditional, done in the usual way
intensified(Watching in translation)
made stronger
relate to(Relevance today)
understand and feel connected to
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The full Cambridge 17 Test 2 listening paper with the real audio: all four parts, played once, marked the moment you finish. Already done it? Take it again and listen for the traps this page showed you.
Cambridge IELTS 17, Test 2, Listening Part 3. The recording, transcript and questions belong to Cambridge University Press and are not reproduced here. We quote short extracts of the transcript only as evidence for our own commentary, and the answers are published for self-marking. Get the book for the full material, or sit the test on Langujet.
