THE BASICS: Shakespeare’s comedy/romance THE TAMING OF THE SHREW directed by Steve Vaughan runs through Sunday, August 21, at 7:30 p.m. at “Shakespeare Hill” in Delaware Park. When using GPS or other navigation device you can use the address of 199 Lincoln Parkway, Buffalo, NY 14222. Parking for Shakespeare in Delaware Park is on-street parking but please note: The City of Buffalo and Parking Enforcement have announced they will be ticketing cars parked on the parkland grass or grassy medians along Lincoln Parkway. Run time a little under three hours (7:30 – 10:20 p.m.) with one 20-minute intermission. Food and souvenirs available. Bring your own blanket or folding chair and a jacket since temperatures do drop after dark. Performances are FREE and open to the public with good-will donations gratefully accepted by the actors who come out into the audience at intermission! Information at (716) 856-4533.
THUMBNAIL SKETCH: Old Baptista Minola wants to marry off his shrewish older daughter, Katharina, and won’t allow his more temperate younger daughter, Bianca, to wed until that happens. To encourage suitors for Kate, he has offered a very large dowry which attracts the attention of Petruchio, who ultimately devises a scheme to “tame” Kate. At the end there are three weddings, but only one truly blissful and contented union.
THE PLAYERS, THE PLAY, AND THE PRODUCTION: The play uses a “pirate” theme which informed the costumes and the incidental music of sea chanties and bawdy ballads, excellently sung by the ensemble. The theme neither added nor detracted from the play, but the music was very entertaining and I think that the “Bard of Avon” would have approved.
The action was tight, things moved right along, the dialog was clear, and even the dreaded 400-year-old puns and references which can really slow down a production here came to life.
Bonnie Jean Taylor is appropriately fierce but undeniably beautiful in both voice and looks and is well matched by the handsome and clear-voiced Chris Hatch as Petruchio. The “three dads” played by Norm Sham, Rolando Gomez, and Gerry Maher were appropriately three-dimensional and not, as often happens, cartoon figures.
A special shout-out to Arin Lee Dandes as one of the pirate/henchmen for bringing more life than usual to a minor role.
A special shout-out to Arin Lee Dandes as one of the pirate/henchmen for bringing more life than usual to a minor role. She was also the Dance Captain and Zev Steinberg who plays Grumio was the Fight Captain. And those two kept things hopping on the new stage.
Emma Schimminger’s Lighting Design kept us focused on the important action and Ken Shaw’s Costumes were appropriate for each role.
Everyone else on stage deserves credit for tight ensemble work and great singing! That was a pleasant surprise after the dreary cowboy ballads a few years back in MEASURE FOR MEASURE.
Marisa Pizzuto as Bianca, Adam Yellen as Tranio, Marc Ruffino as Hortensio, David Lundy as Gremio, Jonas Barranca as Lucentio, all were very good. And the musical group really cooked, including Jay Wollin, Maura Nolan, Rachel Wach, and at the end Lucas Denies playing the devil out of his violin.
One fine musical touch: For Petruchio’s “stag party” all the pirates join in the sea chantey “Roll the old / Jolly Rodger on” which shares a bass line harmony and morphs beautifully into Pachelbel’s “Canon” as Kate walks down the aisle for her wedding. That was sweet. Jay Wollin (Music Director) was that your doing? Cool.
Since women actually live every day experiencing “a patriarchal system of male preference, economic and administrative power, and social hierarchy” (taken from the Director’s Note) they have a more nuanced reaction to this play.
By the way, I was encouraged by a colleague to ask women in the audience as to their reaction about the “taming” of Kate. It bothered some, others shrugged it off as appropriate for a 400-year-old play. I honestly think it bothers contemporary men more than women. Since women actually live every day experiencing “a patriarchal system of male preference, economic and administrative power, and social hierarchy” (taken from the Director’s Note) they have a more nuanced reaction to this play.
One sour note: For two scenes Petruchio’s body mic didn’t work. I can understand a technical problem, but if it was low batteries, that’s unforgiveable. After Petruchio had an exit, I was hoping that backstage the problem would be addressed, but no dice. This happened earlier this summer. C’mon guys.
*HERD OF BUFFALO (Notes on the Rating System)
ONE BUFFALO: This means trouble. A dreadful play, a highly flawed production, or both. Unless there is some really compelling reason for you to attend (i.e. you are the parent of someone who is in it), give this show a wide berth.
TWO BUFFALOS: Passable, but no great shakes. Either the production is pretty far off base, or the play itself is problematic. Unless you are the sort of person who’s happy just going to the theater, you might look around for something else.
THREE BUFFALOS: I still have my issues, but this is a pretty darn good night at the theater. If you don’t go in with huge expectations, you will probably be pleased.
FOUR BUFFALOS: Both the production and the play are of high caliber. If the genre/content are up your alley, I would make a real effort to attend.
FIVE BUFFALOS: Truly superb–a rare rating. Comedies that leave you weak with laughter, dramas that really touch the heart. Provided that this is the kind of show you like, you’d be a fool to miss it!