Here’s some information to help you “get inside” Sweet Tea’s upcoming production ofÂ The Taming of the Shrew! First, an article written by the Sweet Tea Shakespeare company dramaturg, Ruth Nelson; then, check out the links provided for additional analysis, performance reviews, and fun facts!
NOT Your Average Picnic: Sweet Tea Shakespeare Serves Up The Taming of the Shrew
By Ruth A. Nelson
(originally published in Friction Magazine July 2014)
A rich young bachelor acquires a rich headstrong beauty for his wife. It sounds like the plot of many a modern romantic comedy, doesnât it? But what if, instead of living âHappily Ever After,â the groom showed up late – and dressed like a homeless clown – to the wedding, dragged his new bride away from the reception and through the mud to his country house, deprived her of food and sleep, and eventually humiliated her into meek submission? One might think a phone call to the police would be more appropriate than a round of applause.
Thus runs the plot of The Taming of the Shrew, one of Shakespeareâs most hotly debated plays and Sweet Tea Shakespeareâs second offering this summer. Shrew has been a source of contention for literary and theatrical analysts since its debut in the 1590s. Various productions have explored an array of interpretations to this robust comedy, from a sobering tale of cruel misogyny to a surprisingly tender – and easily misunderstood – love story. Whichever way you slice it, this story has the potential to be a difficult theatrical morsel to swallow, for audience and actors alike.
Why choose such a tricky dish for Sweet Tea Shakespeareâs summer fare? Jeremy Fiebig, Founder and Artistic Director of Sweet Tea Shakespeare, does not shy away from the playâs boldly troublesome nature: âShrew is considered controversial because it seems to celebrate a male chauvinist perspective. The play does do this — there’s no getting around it. To me, presenting and dealing with the discomfort that emerges from a play like Shrew is important. Shrew can serve as a mirror for us. If we look into it, we may not like what we see, but we can sure learn from it.â
Besides being âimportant,â Shrew has proven its performative worth through sheer longevity. For over four hundred years now, audiences continue to demand, enjoy, and respond enthusiastically to the shamelessly raucous fun of this script. Between 2002 and 2012, the Royal Shakespeare Company alone put up no fewer than four productions of The Taming of the Shrew (Maddy Costa, The Guardian 2012). Disguises, rivalries, fistfights in the street, bumbling servants, razor-sharp verbal wordplay – Shrew has it all! Even with its uncomfortable subject matter, this comedy remains a popular resident of Shakespeareâs âhall of fame,â making it an apt choice for the warm, whimsical, unabashedly theatrical Sweet Tea Shakespeare.
Furthermore, at its core, Shrew is a funny story about love. Recalling Loveâs Labours Lost, Sweet Teaâs first summer show (June 2014), Fiebig observes: âBoth shows this season are about the extremes we go to for love and the unexpected endings that come from those pursuits.â As with every production, the goal of Sweet Tea Shakespeare is to explore authentically the rich nature of this complicated text, invite the audience into the exploration, and have a riotous amount of fun along the way. Who knows? We all might learn something – and we will definitely be better for the laughter.
Visit the British Library online:
*Note: It is widely believed that John Fletcher wrote a sequel to Taming of the Shrew in the early 1600s, called The Womanâs Prize or The Tamer Tamed.
Check out this article by Erin Furstnau: http://www2.cedarcrest.edu/academic/eng/lfletcher/shrew/efurstnau.htm
1) Royal Shakespeare Company, 2012 â Maddy Costa (The Guardian):
2) Shakespeare BASHâd, Toronto Fringe Festival, 2012 â J.A. Macfarlane: http://www.playshakespeare.com/taming-of-the-shrew/389-theatre-reviews/6071-an-excellent-evening-bash
3) Chicago Shakespeare Theater, 2010 â Barry Eitel
(Framing device written by Neil LaBute):
Sweet Tea Shakespeare will host auditions for its productions of Julius Caesar, Antigone, and The Winter’s Tale on July 17 from 4-6pm with callbacks on July 18 from 4-6pm.
Julius Caesar will rehearse beginning August 19 and run from September 22-28, including at least one daytime performance for schools. This will be an outdoor performance. Antigone, part of our new Honey series for women, will rehearse in late September through October and will run November 5-9. We anticipate this being an indoor performance. The Winter’s Tale will rehearse through the fall, with performances running weekends in January (9-25). This will be an indoor performance. Auditioners may be cast for Julius Caesar; these are screening auditions for Antigone and The Winter’s Tale — additional audition dates for those shows will be added in the fall. Musicians of any sort are particularly encouraged to audition. STS employs cross-gender casting of roles. Auditions are cold readings from sides, which will be available on site at auditions. Rehearsals will begin with intensive text work. Actors are typically required to arrive at the first rehearsal memorized and having completed some text homework (with instruction provided). Shows will be double cast, with total casts being not more than 12-15 people. Actors will customarily play more than one part.
As part of the STS experience, actors are typically expected to take part in one or more of the following activities: -musical entertainment prior to the show, during the show, and/or at intermission -other entertainments, such as juggling, dancing, etc. -audience interaction, including selling merchandise, handing out programs, etc. before the show and at intermission -assisting with set up and strike of costumes, props, scenery, lighting, and sound equipment for each performance as part of a team -assisting with social media marketing STS pays a stipend of not less than $50 and not more than $400 per role, with the bulk of stipends being in the $50 to $100 range.
Auditions are by appointment only. To make an appointment, email [email protected] with your resume and headshot. If you have neither, please email a summary of your experience and a photo.
Check out our audience guide for Love’s Labour’s Lost. Created by Jessica Osnoe.
Love’s Labour’s Lost follows four buffoonish men as they pledge to live a life free of women and dedicated to chastity and academic study â until four beautiful women, including the Princess of France, arrive on the scene. Each of the men secretly tries to woo one of the women without being caught by his fellows. Uproariously funny and tenderly poignant, Loveâs Labourâs Lost is a great night under the stars.
The Taming of the Shrew follows Bianca, who wants to marry the love of her life, but her father has one rule: Biancaâs older sister, Katharina (âKateâ), must be married first. The problem? Kate will have nothing of it. Enter Petrucchio, a would-be suitor for Kate, who employs some unconventional methods of âtamingâ Kate and who ends up being tamed himself in the process
Performances will take place outdoors. Audiences should bring their own seating and bug spray.Picnic style food and drink, including free sweet tea, will be served. Pets and outside food are not allowed.
Each performance is preceded by half an hour of live music and preshow entertainment with plenty of opportunity for fellowship and fun.
Tickets: $12 general admission; $10 senior citizens/military; $7.50 Students; $5 Children 6-12 yrs.; Free under 5 yrs.; $5 FSU students. Purchase tickets on-line:Â sweetteashakespeare.com. Location: 1897 Poe House at 206 Bradford Avenue in Fayetteville.