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• W347109708 abstract "In some ways the National Players' production The Taming the Shrew might be seen as a safe choice, the more politically dangerous features the play de-emphasized for the sake its playful verbal and physical energy. (1) In his Director's Notes, Clay Hopper seemed determined to steer this play away from political commentary, aiming instead at achieving the multiple pleasures provided by Shakespeare's twists on the play's commedia dell'arte and farcical structure: Reading too much into the political implications this Hopper put forth in his notes, a temptation for contemporary directors and audiences alike. However, it is the play's very structure, with characters developed at breakneck speed and the use multiple disguises and plotlines whose complications arise and resolve seemingly instantly, that begs us to view the play as it is: a farce with a love story tucked neatly into Commedia Dell'arte structure. (2) Hopper did, indeed, find a balance here, something like commedia blended with American Burlesque with a touch '50s and '60s television comedy, from The Many Loves Dobie Gillis to Rowan and Martin's Laugh-In. Hortensio, for instance, as Litio, the master poetry, wearing black pants and a dickie, and sporting a goatee, resembled Dobie Gillis's Maynard G. Krebs, himself an imitation a '50s Beat poet, while Lucentio, in a cardigan sweater with his high school letter--P for Pisa--sewn on the pocket, looked like the oft benighted Dobie Gillis himself. And Petruchio, the self-proclaimed tamer women, with his slicked back hair, tight black pants, and white T-shirt, looked like the Fonz, formerly Happy Days, but now cruising in a new-found fiction. The comic rhythms the play, both verbal and physical, were scored by a series percussion instruments onstage--a drum, a gong, and vibes--that preserved our comic distance. Every exchange repartee and every sharply choreographed pratfall was followed by a percussive punctuation. And in a style that was both appreciative and parodic, every action Petruchio made was precisely imitated by his servant Grumio. Indeed, Grumio played a similar role when his master recounted the boisterous clamor wars he had endured--their loud 'larums, neighing steeds, and trumpets' clang. For each thunderous noise Petruchio cited, Grumio enthusiastically provided the sound effects. All these contextual references contributed to a spirit escapism to be sure, like so many Laugh-In guest appearances. And the energetic pace the pop culture allusions from the past did offer a range nostalgic, treasure-hunt pleasures for audiences of a certain age. Yet at the same time there was a hint mockery in these allusive moments. Such parody became more prominent in this production as it began to expose the political and social mores the 1950s, whose conservative values Baptista might welcome. In fact, this production took advantage its 1950s setting, especially its implicit promise happiness purchased by a submission to consumerism and material values. Such an ideology required both men and women a strict adherence to the gender and social codes created by advertising. This Shrew, then, evoked a world in which advertisers, after years wartime rationing and ascetic restraint, promised a nervous post-war audience, especially women, that happiness was theirs if only they purchased the right household appliance, or shampoo, or clothing, or detergent, personified in one ad as the Ajax White Knight in shining armor sweeping a housewife off her feet, as with his lance he transformed household grit into a gleaming kitchen paradise stronger than dirt. Men, too, home from the war-or even those who'd never gone at all--were constantly reminded by Madison Avenue the rugged, manly mirror they must resemble, a code reinforced by a lineage Marlboro men and massive cars that raced through American landscapes like the stallions courtly romance. …" @default.
• W347109708 created "2016-06-24" @default.
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• W347109708 date "2006-01-01" @default.
• W347109708 modified "2023-09-27" @default.
• W347109708 title "Clemson Shakespeare Festival XV (2006) I Married Kate: The National Players Perform the Taming of the Shrew" @default.
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