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Manhattanville College Department of Dance & Theatre 2900 Purchase Street, Purchase, NY 10577 · Phone: 914.323.5458 · Fax: 914.323.7293 [email protected] · www.mville.edu/DanceTheatre Manhattanville College Department of Dance & Theatre Presents Taming of the Shrew by William Shakespeare DIRECTOR SET DESIGN LIGHTING DESIGN COSTUMES DESIGN SOUND DESIGN CHOREOGRAPHY FIGHT CHOREOGRAPHER TECHNICAL DIRECTOR PRODUCTION STAGE MANAGERS ASSISTANT TO THE DIRECTOR FIGHT CAPITAN Clista Townsend Ken Rothchild Mike Lounsbery Liz Prince Clista Townsend Aubrey Snowden, Joyce Trotta Matt Mainhart Mike Lounsbery Devon Pernice, Rebekah Sheffer Lexi Pelayo Chris Smalley The Ensemble LAILA BLUMENTHAL-ROTHCHILD KEVIN BRETTAUER CHRIS CAMPANILE ROMAR DULAY GENEVIEVE GEARHART LAUREN GEMELLI VANESSA GIBENS DEVIN LANDIN LUCY MCRAE BRIGITTE MULHOLLAND JOSHUA PANGBORN EVAN SHAFRAN CHRIS SMALLEY JACK SARACENO AUBREY SNOWDEN RACHAEL STEIMNITZ KRI TATRO ALI VAN HORN DARRYLLEE VANOUDENHOVE Kit Minola, Haberdasher, Servant Pedant, Servant Vincentio, Chauffer, Servant Petruchio Tranio Curtis, Mrs. Minola Kate Baptista, Mr. Minola Tailor, Maid, Servant Widow, Nurse, Servant Gremio Hortensio Lucentio Magical Jester, Servant Magical Jester Bianca Magical Jester, Servant Grumio Biondello DEPARTMENT OF DANCE & THEATRE Upcoming Events EUGENE O’NEILL SYMPOSIUM: “Long Days Journey Into Night” with David Hays, Designer, Broadway Production Founder and Artistic Director Emeritus, National Theatre of the Deaf Honorary Doctorate, Manhattanville College & Prof. J Ranelli, Director, Playwright Founder, National Theatre Institute, Eugene O’Neill Theatre Center Artist in Residence & Visiting Professor, Manhattanville College, 1995-2004 Thursday, March 24, 2005 • 7:30 pm EAST LIBRARY, Reid Castle FREE SPRING ’05 DANCE CONCERT GUEST CHOREOGRAPHERS: Ara Fitzgerald & Diane McCarthy NEW WORK BY FACULTY & STUDENTS Thursday - Saturday • April 7 - 9 • 8:00 pm Sunday, April 10 • 2:00 pm Matinee LITTLE THEATRE, Brownson Hall $5 w/ Student ID • $10 General Admission APRIL THESIS FESTIVAL Wed. - Thurs. & Sat. - Sun. • April 13 - 14 & 16 - 17 Check DTH website for more information. ACTING FOR THE CAMERA SCENE NIGHT April 28 • 7 pm BENZIGER CONFERENCE ROOM • Free CABARET SHOWING April 28 • 8 & 10 pm WEST ROOM • Free For Reservations & Information: 914.323.7175. All events are subject to change. Please call 914.323.5458 for exact dates and times. Production Staff LIGHT BOARD OPERATOR SOUND BOARD OPERATOR Ellen Orlando Patrick Benedict MASTER ELECTRICIAN Lauren Bliss ASSISTANT LIGHT DESIGNER Lauren Bliss COSTUME SHOP SUPERVISOR Midge Denton SEAMSTRESSES Jessica Barry, Sabrina Doolittle, SCENE 1 A SCENE 1 B SCENE 2 SCENE 1 A SCENE 1 B SCENE 1 C SCENE 1 D Lexi Pelayo PROP MASTER STAGE CREW Evan Shafran Jessica Barry, Patrick Benedict, Jessica Burns, Suzanne DiPasquale, Jamie London, Ellen Orlando, Kelly Scallion ELECTRICIANS SCENE 1 A SCENE 2 B SCENE 2 B SCENE 2 C SCENE 2 D Jessica Barry, Alexandra Benus, Sabrina Doolittle, Ilene Echavarria, Monica Moreau, Yoshito Sakuraba, Christin Wagner SET CONSTRUCTION Andrea Cordaro, Geoffrey Dilenschneider, Taylor Donofrio, Amanda Kiss, Chris Smalley STAGE MANAGEMENT SUPERVISOR HOUSE MANAGER BOX OFFICE POSTER DESIGN & PROGRAM Bob Daley Savanah Bodnar SCENE 1 A SCENE 1 B SCENE 2 A SCENE 2 B SCENE SCENE SCENE SCENE SCENE 3A 3B 3C 4 5 Britt Stevens Claudia Flores-Aldana The Minola House in the midst of moving and selling the house. And a puppet show in the Chautauqua Tent. Padua. A public square. The same Act II Padua. A room in Baptista’s house. Kate “questions” Bianca about her suitors. The same Many Suitors come to call The same The Kate Petruchio Wooing scene The same Auctioning off Bianca Act III A garden of the Baptists house, Bianca’s 1st Music and Latin Lesson. Padua outside the church waiting for the groom The same Petruchio’s late arrival for the wedding The same Tranio explains the fake dad plot. Gremio describes the wedding The same Petruchio declares they must skip the wedding festivities Intermission Valery Cavadini, Dierdre Dillon, Kelly Scallion, Rebekah Sheffer, Act I SCENE 1 SCENE 2 A SCENE 2 B Act IV A hall in Petruchio’s house. Servants meet & greet the new bride, bad dinner The same Petruchio tells us his strategy for taming Padua, a garden of Baptista’s house. Hortentio gives up courting Bianca says Widow is the one The same Biondello finds a Pedant to play the part of the fake dad & Tranio sells the idea to the Pedant A room in Petruchio’s house. Kate begs for food The same Petruchio tells Kate of plan to go to Padua The same The Tailor brings a new dress Padua. Before Baptista’s house. On the road to Padua. Act V Padua. Before Lucentio’s house. A room in Lucentio’s house. The Minola House Director’s Notes Biographies Shakespeare’s The Taming of the Shrew, (Shrew) has been called, variously, a farce, Commedia dell’Arte, poetic fantasy, a rudemanner’d shew, a festive comedy, a brutal commedy, a righte pleasante comity, a gem, a blasphemy, a dream, a plagiarism, a vaudeville, a comedy of manners, a comedy, and (of course) “that problem play.” As we worked on this play I think we honestly found it to be all of these except “a problem.” George Bernard Shaw wrote of the play, “…is a remarkable example of Shakespeare’s repeated attempts to make the public accept realistic comedy.” What? How can a play which borrows so much from the Commedia dell’Arte be considered realistic? Well, I think that the answer is that amidst the clowning and buffoonery we find the very real love story of Kate and Petruchio— perhaps a problematic love story but* a love story all the same. manent ensemble that creates and presents new work and reworked classics in original and startling productions. His forty off-Broadway productions for that company include: The Good Woman of Setzuan, Antigone, St. Joan of the Stockyards, Ghost Sonata, Danton's Death, Irondale's productions on both Russian tours (Uncle Vanya, Sacrifice, and You Can't Win), and most recently Wasted: The History/Mystery of Public Education in America, and How It Got That Way. Recently his work as an Art Director for film was seen in the WNET-Channel 13 documentary None Without Sin, the story of the relationship between Arthur Miller and Elia Kazan. A graduate of NYU's Tisch School of the Arts Design Program, he is a member of United Scenic Artists Local 829. He is also the proud father of Laila and Kaya, both of whom seem to be exhibiting an interest in show business. This production isn’t an entirely traditional telling of Shakespeare’s Shrew, as we have created a “new” Induction Scene to replace the original Christopher Sly one. And yet, in another very important sense this production is entirely traditional as the “play-within-the-play” of Shrew is firmly rooted in the playing style of the Commedia dell’ Arte. The Sly Induction scenes are often cut, but I found them useful as a means to induce the play and to introduce many of the themes that are more fully developed in the play itself, such as, public versus private identity, game playing, education and the battle between the sexes. In our Induction scene we discover a wealthy 1940’s American family (The Minola’s) suffering from financial ruin and being forced to sell everything and move. The Minola’s Nanny and Chauffer have taken nine year old daughter, Kit Minola to the Chautauqua Fair as a distraction from the family “problems.” Eventually, young Kit listens to a live radio broadcast of The Taming of the Shrew while reading along with the text. Our production of Shrew emerges from Kit’s imagination fusing her impressions from her life, story books, the circus and Shakespeare’s play (that she is reading). The idea came from my own childhood, actually. My mom loved telling about the time when she and my dad were surprised to find me at age eight glued to our brand new black & white TV set. (We were the last ones on our block to get a TV, mainly so my dad could watch his “Huntley, Brinkley.” ) I was watching a British production of Shakespeare’s Tempest Acknowledgments & Thanks President Richard Berman, Provost Gabriele Wickert, Vice President Mary Corrarino, Professor Michael Posnick, Judi Guralnick and the SUNY Purchase Props Department, Ken Rothchild and Hilarie Blumenthal for allowing and even encouraging their daughters Laila and Kaya to join our "family". Special thanks to Professor Michael Posnick for having the creativity and wisdom to experiment with adding Playing Shakespeare to DTH’s curriculum. Biographies Director’s Notes Cont... iz Prince, Costume Design, has worked extensively with Bill T. Jones designing for his works on his company, Boston Ballet, Berlin Opera Ballet and Alvin Ailey American Dance. Other work includes designing for works by: Doug Varone (Doug Varone and Dancers, Jose Limon Dance Company, Dayton Contemporary Dance), Mark Dendy (Dendy Dance, Pacific Northwest Ballet, Dortmund Theater Ballet), Trey McIntyre (American Ballet Theater, Washington Ballet, PHILADANCO, Pennsylvania Ballet, Houston Ballet), Mikhail Baryshnikov's White Oak Dance Project, Bill Irwin, Neil Greenberg, Ralph Lemon, Pilobolus, Jane Comfort, Lenora Champagne, Bebe Miller, Sarah East Johnson, Gerard Alessandrini (MOBIL Masterpiece Theater Celebrates 20 Years on PBS), David Dorfman, Patricia Hoffbauer, Jennifer Monson, Lawrence Goldhuber. Photographs of Prince's costumes and sketches for Ralph Lemon's GEOGRAPHY were recently published by Theater Communication Group as part of THE PRODUCTION NOTEBOOKS volume II, edited by Mark Bly. Her work has been exhibited at the New York Public Library for the Performing Arts , Cleveland Center for Contemporary Art and Snug Harbor Cultural Center. She received a 1990 New York Dance and Performance Award for costume design. She has designed and taught at Manhattanville College since 2000. while reading from our “big Shakespeare book.” The only thing I seem to remember is Richard Burton playing Caliban and that my dad missed his “Huntley Brinkley” that night. I sometimes wonder if my dad had changed the channel if I’d have still ended up with a life in the Theatre. L K en Rothchild, Scene Design, Adjunct Professor and Resident Scene Designer. Ken has been designing and teaching at Manhattanville College since the 2000 Spring Semester; his designs here include A Funny Thing Happened on the Way to the Forum, The Last Enemy, The MacBeth Project, Peer Gynt, Twelfth Night, Cymbeline, The Bacchae, A Winter's Tale, and King of Hearts. He is also the Associate Artistic Director and resident scene designer for the Irondale Ensemble Project, a 20-year-old, New York-based per- Many find Shrew to be a “problem” in the context of our contemporary sensibilities, especially with regard to gender issues. In researching the production history of Shrew, I discovered there have been several approaches that put misogyny at the center with examples like Charles Marowitz’s 1973 production that had Kate at one point in the play held by several men, including her father, while Petruchio mounts her from behind. In another interpretation, at the end of Kate’s final monologue it is revealed that she has slit her wrists. I didn’t find the text to support these choices. I looked to other examples for inspiration such as Glynis Leyshon’s 2001 production that concludes, “we delight that these two fiery beings have triumphantly joined in mind, body and spirit.” Or from Julie Taymor’s 1988 production of Shrew: Then there is the audience who writes it off as a dated, misogynist tract. I pity that audience. I am with those who adore Kate and her sharp and brilliant tongue and cannot possibly imagine that Shakespeare would give her all that great language, wit, and character if he did not love and respect her also. And there is Harold Bloom who states in his Shakespeare, The Invention of the Human that Kate and Petruchio are “going to be the happiest couple in Shakespeare.” There has been no blood but a lot of sweat and tears (tears of laughter) in the making of this production. There has been extraordinary collaboration and feeling of ensemble from the very beginning going all the way back to last fall’s Playing Shakespeare class were we first began exploring the world of commedia and working toward becoming “la familia.” Our family grew with the addition of all our designers, Director’s Notes Cont... Stage Managers, Choreographers, Technicians, as well, as Fight Director, Assistant Director and, of course, Laila. The only missing element has been you, the audience. So, welcome to our crazy family and enjoy. This production is dedicated to the memory of Bettye J. Towne who’s laughter will ring in my heart forever and a day and to Reginald M. Towne for giving up his “Huntley Brinkley.” *but This is one of the “little big words” that Kristin Linklater writes of in her book, Freeing Shakespeare’s Voice. We’ve found these words to be so important in exploring Shakespeare’s text; they redirect the action and are inherently dramatic. So, you might want to pay special attention to all the buts in the show. About Commedia Dell’Arte The touring Italian acting troupes of the 16th and 17th centuries left a legacy that has filtered down throughout the ages with the characters invading the literature and theatre of much of Western Europe inspiring the likes of Shakespeare and Moliere. They were passed on to the Music Hall and Vaudeville then to the clowns of the silent films. Each generation has reinvented the form to fit its own age. Commedia scenarios were populated by tightfisted fathers, horny old Pantaloons, braggart Captains, scheming servants and aching lovers. The actors were well trained in their particular character, often wearing masks and having a plethora of routines and stage buffoonery (lazzi) and jokes (burli). They relied on improvisation, physical humor and outlandish gestures to supply the meat of their material. It was a world were the actor was creator, for whom the empty space, the ensemble and the audience were equal partners, a world were masks were a means to explore essential human archetypes and relations as well as the art of comedy. To this world Shakespeare brought language; rich, crackling, powerful, sharp, bawdy, clever and newly coined words, words that now also become part of the actor’s means to reveal character and the human condition. C Biographies lista Townsend, playwright, actor, director and teacher, was a founding member of Novel Stages in Philadelphia and Ark in Los Angeles. Both theatres develop new plays through literature and inter-disciplinary collaborations as well as innovative productions of classic plays. Novel’s 19 world premieres included plays adapted from Nadine Gordimer, Emile Zola, William Faulkner and Kurt Vonnegut and original plays by Chaim Potok and Townsend. Her play, Marks in the Water, about painter Thomas Eakins was Ark’s first production in 2000. At University of the Arts and Arcadia University she taught mask technique (from Neutral to Commedia) and other courses that included Improvisation, Acting Shakespeare and Scene Study. She’s worked in regional theater as well as in television and film, most recently Jesus’ Son. Townsend has an M.F.A. in Acting from Southern Methodist University with further training with Lecoq, MazzoneClementi and Gaulier. She teaches Acting Scene Study and Ensemble Creation at SUNY Purchase in addition to the classes at Mville, Acting I, Voice & Speech I and II, Playing Shakespeare. M ichael Lounsbery, Lighting Designer, Technical Director, Adjunct Instructor, holds an MFA in Theatre Design from The University of Memphis and a BA in Fine Arts from St. Michael’s College in Vermont. He has designed sound and lights for theatres including Northern Stage, Vermont Stage, Memphis Black Rep, University of Vermont, Smith College, Pioneer Valley Summer Theatre and New Century Theatre. In his free time he has worked to develop some radio plays including a version of Dr. Seuss’s The Lorax and his own creations, Henry Kissinger: A Man About Town, and Xanthar Borax: Hyperspace Hyper Detective. Michael has also co-authored a children’s play that will premier this April n Florida.