The Shakespeare Theatre's The Taming of the Shrew at Cactus High School Auditorium
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 8/7/99
(out of )William Shakespeare has written works that cross centuries and cultures, while never losing their meaning or effectiveness. Directors have changed the visuals, settings and periods of his many plays, often allowing modern audiences entrée into his difficult vocal cadences and rhythms. Some choices have been wrong, but some, such as a Macbeth set in a nuclear-apocalyptic "blasted heath", have enriched an already wealthy work. This is why half of the fun of directing Shakespeare is coming up with a new spin that will boggle the audience's minds. The Shakespeare Theatre and talented Director David Barker have hit on a very clever concept for their current production of The Taming of the Shrew that makes literal the games that are played during the various courtships of Kate the Cursed and her fair sister, Bianca.
Imagine, if you will, that Padua is a giant game board, and that each contingent of suitors and fair maidens are game pieces that must move from square to square in their rituals of courting and taming. Baptista's team, including his two daughters, are the red team. Smitten Lucentio, and his father and servants, are the yellow team. Egocentric Petruchio and his servants are the blue team, and so on. On this oversized game board, a pile of cards and a pair of dice aid in the successes and failures of these teams. The staging is filled with obvious jumps from one square to the next, as each team succeeds or fails in their quest for the prize of the two red game pieces, Kate and Bianca. It's almost maddening how obvious this perfect concept is, and how long ago it should have been used for this commedia dell arté-based play.
Mr. Barker's successes do not stop with his concept, though. He and his Dramaturg, Leigh-Ann Santillanes, with only a few minor lapses, have done a very good job paring the script to a workable, and surprisingly less misogynistic offering. To do so, there are some liberties taken on original intentions, such as a visual cue in Petruchio and Kate's first meeting that bends the original rules of the script, but aids in the overall movement of this particular production. He has also gathered together a wonderful cast that, while there are some stronger actors than others, does not have a single weak link to bring down the production dramatically. He has formed a design team that have brought his concept to life perfectly and professionally. In short, there are so many things right with this production, it's a shame that audiences aren't packing the Cactus High Auditorium to capacity.
The cast is chock full of impressive performances. The two coveted game pieces, Jennifer Erdmann as Kate, and Danielle Marcelle Bond as Bianca, do a great job with these charicatures. Ms. Erdmann is not too over-the-top as she tumbles around the stage, tussling with those who dare to stand in her way. Ms. Bond is not too perfect the opposite of her sister as she courts the advances of her three suitors, showing just enough cheek to flesh out her character. The pompous Petruchio is well handled by Raymond Shurtz, whose bombastic ways and outrageous taming are perfectly presented, though some of his lines are occasionally slurred. Beau Heckman's Lucentio is subtle and clever, even as the impressive performances of Bruce Laks' fuddy-duddy suitor, Gremio, and Shane Dean's youthfully green suitor, Hortensio, are straight from the commedia school of single dimension. As worried father, Baptista, Steven J. Scally well balances his love for his children with his burning desire to finally send them from the nest.
The supporting cast, save for one minor exception, is very solid. Tops of this group are the acrobatics of Ryan Busch as Petruchio's manservant, Grumio, and Shawn Alan Murphy as servant to Lucentio, Biondello. Each has more energy than a nuclear warhead, and manage to balance the humor of their slapstick with their textual humor. The only so-so performance comes from the dual roles portrayed by George Preston, who lacks the energy and power of those around him.
Raves go to the design crew, who pull together this difficult concept in sound and visuals with nary a hitch. Richard Hardt's set and prop design are absolutely wonderful, giving just enough visual hints to keep the theme tied together and hilariously portrayed. Susan Morrell's costumes are nearly as perfect, although the inclusion of animal noses for three of Petruchio's servants, a choice not found elsewhere, causes one to question Ms. Morrell and Mr. Barker. The inventive and playful cues of Sparky Hulgan's sound design are a wonderful touch perfectly executed. Finally, Scott Campbell's colorful lighting design is simply wonderful, given general fill and special effects in equal and effective balance.
Shakespeare companies seem to have sprung up overnight in the Copper State, and their levels of professionalism range wildly. If this is a sign of things to come from Producer Wes Martin and The Shakespeare Theatre, then the West Valley has a legitimate Shakespeare company worth watching over the next several seasons.
Production Details:
The Taming of the Shrew by William
Shakespeare
The Shakespeare Theatre
The Cactus High School Auditorium, Glendale
(602) 298-9350
August 5th - August 22nd, 1999