This thesis explores Gérard Presgurvic's popular musical Roméo et Juliette: de la Haine à l'Amour (2001) and two of its adaptations: Rómeó es Júlia (Hungary, 2001) and Romeo e Giulietta: Ama e cambia il Mondo (Italy, 2013), in regards to narrative structure and depictions of masculinities. Through adaptation analysis applied to filmed performances of all three musicals, the thesis compares and contrasts lyrics, scenography and character constellations centered around the antagonist Tybalt and his masculinities. The theoretical base is built on R.W. Connell's theory of hegemonic masculinity, as applied to stage analysis by M. Mangan. The thesis shows how the French musical’s postmodernistic tension between music and mise-en-scène is adapted in different ways. In Hungary, reordering of songs and a move from visual to verbal focust, establishes a more classic dramatical progression with stronger causality. In Italy, a postmodernistic tension is established in the conflict between sung and spoken parts, partially bridged by a historicized mise-en-scenè. Through close analysis of the depiction of Tybalt, the varying narrative structures are shown to highlight different problems in the characters attempt to conform with the ideals of hegemonic masculinity. Each adaptation shows the futility of attempting to fulfill the masculine norms, but give different weights to the role of fate, the surrounding society and the narrative expectations of the audience in the failure.