Taming of the Shrew
Summer Theatre of New Canaan
Shows | Review
STONC's "Taming of the Shrew" is Energtic, trendy and contemporary and mostly in the family way!
by June S. April, CT Critics Circle
The pounding music and roving lights that scuttle over the interior walls of the white tent feed the audience's anticipation of how all this razzle-dazzle could be translated into a classic Shakespearian production. It's the Bard, injected with "Saturday Night Fever," but it is definitely Shakespeare's words, and well-spoken.
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| Katherine Malak |
With an eye to cultivating future audiences, Summer Theatre of New Canaan will have two additional shows particularly suited to wee folks. Shakespeare for Kids, will be running concurrently ( June 27, and July 3 and 11 at 2 p.m. ) and a musical version of Pinocchio, co-produced with the Filament Theatre Ensemble. Those dates are June 26- 28, July 2-3-9-10-11. For additional information about tickets, directions and times either call (203) 966-4634 or go to the web at www.stonc.org. The large tent provides shelter so rain or shine, the show does go on. Executive Director, Ed Libonati is particularly pleased to be back in New Canaan's Waveny Park. Inclement weather has not dampened the enthusiasm of Artistic Director of STONC Melody Meitrott Libonati and she is looking forward to their second theatre production, starting July 18, Lerner & Lowe's fantasy, "Camelot."
In the six years this unique "family-operated" theatre has been in existence, their reputation for quality and sometimes delightfully quirky production has been spreading. Last year, the remarkable actor/dancer Tommy Tune even offered to do a special fundraiser for STONC. It was sold out.
Having seen multiple settings for "Taming of the Shrew," this production defintely has a contemporary air. It speaks volumes to the universality and timeless truths that have spilled from the Bard's quill. On one level it is very funny and allows for a lot of "schtick." And there is an abundance of "schtick" and asides ,that Director Allegra Libonati has inserted into this fast-moving play. The other face of the story is of a widowed father (why did Shakespeare delete the mothers in many of his plays?) who has raised his two daughters, and is marrying them off...the oldest first, in the tradition of the time. The shrewish Kate has clearly been neglected in favor of Biana , the younger daughter (prettier and less demanding/needy?), and Kate's anger and resentment is what has made her so aggressive. Taunting her older sister only exacerbates the sibling competition. In "Taming of the Shrew," competition reigns supreme. Suitors are many and the shenanigans, verbal and physical, are beautifully played out by Brian Silliman as the older Gremio, Terence MacSweeny as Hortensio and Jed Peterson as Lucentio.
As with two other Shakespeare's creations ("A Midsummer Night's Dream" and "Hamlet" ), this is a play within a play, and it is performed before a person of rank or royalty. There are approximately 16 "main" characters in the original script. Allegra Libonati has held true to the original text. In the STONC case, save for the roles of Biana (Faith Bryck), Kate/Katherine (Katherine Malak) the other nine cast members play two or three characters; servants, huntsmen, pages, etc.
Simultaneously rapping while wizzing around the stage, Christian Libonati, plays two very acrobatic roles, Biondello (Lucentio's servant) and Curtis (Petruchio's servant). He mocks, he narrates, he dances; all in sync to the pulsating music. Looking like the incarnation of the character Cruella De Vill of the movie "The Aristocrats," Dorothy Abrahams is comically brilliant as the Tailor. Though she is not one of the Equity members, she has IT !
Looking like an Italian billionaire, Mace Perlman's demeanor as the girls' father (Baptista) is arrogance personified. Shifting roles with his Lord Lucentio, Omen Sade (Tranio) is a pleasure to hear. Every word was understandable, projected; and his studies in Europe and working with the Commedia dell'arte are quite evident. His smitten master, Lucentio (Jed Peterson) has Shakespearean experience firmly intact, with impeccable comic timing.
Padua, which is repeatedly flashed like a strobe whenever the cities name is spoken, is the locale for the first act and the final scene. The set, designed by Patrick Lynch is rather minimalist, yet very effective. It has enough elements to bring to life the sense of the Italian world of high-fashion True to the world of fashion, a runway cuts through the audience. Does this encourage "buying into" the plot? This is clever in its design and concept. With some yellow tape and a cooler, Act 2 location is transformed into Petruchio's domain in Verona.
The sound and music, for this reviewer, was a bit excessive, but for those with a less classical/traditional leaning it surely would be fantastic. All a matter of personal preference.
Director Allegra Libonati's intent is to explore "...how the power of suggestion can educate/tame something wild into something conforming to a civilization. It questions the dichotomy of education: the breaking down of an individual sprit, the necessary struggle of transformation, and ultimately, the freedom gained from the surrender..." One wonders if the audience has some grasp of that. What she has accomplished is an evening of high-power entertainment that has credibility and is just plain fun to watch.
Innovative thinking is always refreshing. When it is successful, it's also gratifying. Traditional Shakespeare this is not, but it is Shakespeare well conceived and well performed.