“Into The Breeches” More Than A WWII Backstage Comedy.

                       

                               

George Brant’s 2018 comedy, set in 1942, now showing at The North Coast Repertory Theatre in Solana Beach, is as much a backstage comedy as it is a lesson on how far we as a society have or have not come on accepting changing social issues as the country changes.

But as an audience member looking in on the comings and goings of a group of female players taking it upon themselves to keep their favorite theatre in Providence, Rhode Island open during war time, when most of the men were off at war it's another story. Things get off to a rocky start when the, long on tooth ingénue, Celeste Fielding, (Katie MacNichol) comes to theatre and finds her fellow competitor Maggie in charge. To say that Celeste trusts Maggie as far as she could throw her would be an understatement, but the show goes on in spite of the potential pitfalls, like board president Ellsworth Snow (James Newcomb). 

James Newcomb, Rosemarie Chandler, Mikaela Macias, Geno Carr
Taylor Henderson, Katie MacNichol, Melanie Lora and Shana Wride

The plays scheduled for this particular season are mostly roles for men… Shakespeare’s Kings Henry IV and V combined. That could prove a potential pitfall for the all-volunteer women ensemble. So, says Ellsworth Snow. More on him later.

For the last 26 years The Oberon Theatre in Providence R.I. has been putting on plays by Shakespeare entertaining their neighbors in Woonsocket and Pawtucket. But… this year most of the men are overseas fighting a war. Maggie Dalton’s (Melanie Lora) husband Andrew always directed. This year, he sends Maggie to R.I.., blessings and all to direct in his place. 

Rejected to fight in this war, Stewart Lasker (Geno Carr) the stage manager is classified as Swish (Look it up). Alongside Stewart is African American Ida Green (Taylor Henderson) the company’s costume designer, who is not allowed to act or give blood, because of the color of her skin. (true). That reduces a potential cast of over thirty parts to about five playing as many parts as costumes allow (Renetta Lloyd and Roz Lehman). All who come to audition are women, lest we forget.   

In case you hadn’t guessed, the women take on the men’s roles, ergo, the breeches. And just as a tease… in one of the funniest scenes in the show, they learn to walk like men. At Celeste’s suggestion, Ida brings out enough bean bags attached to a harness of sorts for each of the women to wear, to simulate (Ahem the men’s business) so the women can feel what it’s like to walk like a man. It’s silly little scenes like these that get a good laugh from the audience, and there are many like that. 

Take for example Ellsworth Snow (James Newcomb) president of the Theatre Board, who refuses to pay the women for playing the men’s roles. (Yes, the men got paid but the women did not. (What say you to that ladies?) Ellsworth’s wife Winifred (the perfect pitch comic Shana Wride) convinces him to put up the cash as she persuades him to give in to every other want the group needs. Oddly matched, the two are the perfect foils for all that takes place on stage and off stage. (Set by Marty Burnett)

Both Mikaela Macias and Rosemarie Chandler as June Bennett and Grace Richards come to audition and seem to have some basic knowledge of Shakespeare so they are hired on a dime. Both have husbands serving overseas. By the time the show is ready and everyone in places and “Lights up” - Curtain Time, all is well. 

Geno Carr

Under the deft direction of Diana Van Fossen and of course with playwright Brant fairly new play,  a new world of first’s plays out in front of us. How naïve we all were about gender equality. Even today women make less for doing the same job as men. If we aren’t aware of this fact today, we’ve been hiding under a rock.  But I would be remiss if I didn’t tell you that the race issue was brought home to me in my own neighborhood before I was a teen, and anti-Semitism, the same. 

While “Into The Breeches” started a bit slow and could have been cut a bit, it brought home more than a behind the scenes comedy; it hit home in places we thought we had overcome. On the other hand, it is a tribute to all those involved in theatre, paying homage to everyone who ever stood in front of an audience and gave it their all, as do those in the cast of “Into The Breeches:.

Cast 

We still have a lot more work to do.

Credit to Peter Herman for the 40’s style hairdos and wigs, Sound Design and Production, Ryan Ford, Lighting Design, Matt Novotny, Prop Designs Cindy Rumley, and Christopher M. Williams, Stage Manager. 

See you at the theatre.

Enjoy.

Dates: Through Nov. 13

Organization: North Coast Repertory Theatre

Phone: 858 481 1055

Production Type: Comedy

Where: 987 Lomas Santa Fe Drive, Solana Beach

Ticket Prices: $54.00 -$65.00

Web: northcoastrep.oeg

Photo: Aaron Rumley

“Into The Breeches” More Than A WWII Backstage Comedy.

George Brant’s 2018 comedy, set in 1942, now showing at The North Coast Repertory Theatre in Solana Beach, is as much a backstage comedy as it is a lesson on how far we as a society have or have  not come on accepting changing social issues as the country changes.

But as an audience member looking in on the comings and goings of a group of female players taking it upon themselves to keep their favorite theatre in Providence, Rhode Island open during war time, when most of the men were off at war it's another story. Things get off to a rocky start when the, long on tooth ingénue, Celeste Fielding, (Katie MacNichol) comes to theatre and finds her fellow competitor Maggie in charge. To say that Celeste trusts Maggie as far as she could throw her would be an understatement, but the show goes on in spite of the potential pitfalls, like board president Ellsworth Snow (James Newcomb). 

The plays scheduled for this particular season are mostly roles for men… Shakespeare’s Kings Henry IV and V combined. That could prove a potential pitfall for the all-volunteer women ensemble. So, says Ellsworth Snow. More on him later.

Geno Carr

For the last 26 years The Oberon Theatre in Providence R.I. has been putting on plays by Shakespeare entertaining their neighbors in Woonsocket and Pawtucket. But… this year most of the men are overseas fighting a war. Maggie Dalton’s (Melanie Lora) husband Andrew always directed. This year, he sends Maggie to R.I.., blessings and all to direct in his place. 

Rejected to fight in this war, Stewart Lasker (Geno Carr) the stage manager is classified as Swish (Look it up). Alongside Stewart is African American Ida Green (Taylor Henderson) the company’s costume designer, who is not allowed to act or give blood, because of the color of her skin. (true). That reduces a potential cast of over thirty parts to about five playing as many parts as costumes allow (Renetta Lloyd and Roz Lehman). All who come to audition are women, lest we forget.  

In case you hadn’t guessed, the women take on the men’s roles, ergo, the breeches. And just as a tease… in one of the funniest scenes in the show, they learn to walk like men. At Celeste’s suggestion, Ida brings out enough bean bags attached to a harness of sorts for each of the women to wear, to simulate (Ahem the men’s business) so the women can feel what it’s like to walk like a man. It’s silly little scenes like these that get a good laugh from the audience, and there are many like that. 

Take for example Ellsworth Snow (James Newcomb) president of the Theatre Board, who refuses to pay the women for playing the men’s roles. (Yes, the men got paid but the women did not. (What say you to that ladies?) Ellsworth’s wife Winifred (the perfect pitch comic Shana Wride) convinces him to put up the cash as she persuades him to give in to every other want the group needs. Oddly matched, the two are the perfect foils for all that takes place on stage and off stage. (Set by Marty Burnett)

Both Mikaela Macias and Rosemarie Chandler as June Bennett and Grace Richards come to audition and seem to have some basic knowledge of Shakespeare so they are hired on a dime. Both have husbands serving overseas. By the time the show is ready and everyone in places and “Lights up” - Curtain Time, all is well. 

Under the deft direction of Diana Van Fossen and of course with playwright Brant fairly new play,  a new world of first’s plays out in front of us. How naïve we all were about gender equality. Even today women make less for doing the same job as men. If we aren’t aware of this fact today, we’ve been hiding under a rock.  But I would be remiss if I didn’t tell you that the race issue was brought home to me in my own neighborhood before I was a teen, and anti-Semitism, the same. 

While “Into The Breeches” started a bit slow and could have been cut a bit, it brought home more than a behind the scenes comedy; it hit home in places we thought we had overcome. On the other hand, it is a tribute to all those involved in theatre, paying homage to everyone who ever stood in front of an audience and gave it their all, as do those in the cast of “Into The Breeches:.

We still have a lot more work to do.

Credit to Peter Herman for the 40’s style hairdos and wigs, Sound Design and Production, Ryan Ford, Lighting Design, Matt Novotny, Prop Designs Cindy Rumley, and Christopher M. Williams, Stage Manager. 

See you at the theatre.

Enjoy.

Dates: Through Nov. 13

Organization: North Coast Repertory Theatre

Phone: 858 481 1055

Production Type: Comedy

Where: 987 Lomas Santa Fe Drive, Solana Beach

Ticket Prices: $54.00 -$65.00

Web: northcoastrep.oeg

Photo: Aaron Rumley

 

“First Date”: OnStage’s Funny, Frenetic and Physically Demanding Musical, Is A Must See.

 

First dates, or as some might call them, blind dates may not be for everyone but in these times where theatre might be our only escape from the mishagas of the real world, it’s a winner; a diversion or better yet, an alternative from the news and with the possibly of finding your one and only. What’s to lose? (If only)

 

Don’t mistake. For Aaron (Benjamin Monts) it’s pretty real and quite traumatizing. Shy, at best. Nerdy, to say the least. And left standing under the Chuppah alone, he had lots of baggage to unfold before putting himself out there. As Mr. Everyman, most shy and unassuming can identify.

 

Benjamin Monts, Andrew Gutierrez, Kylie Young and Shelby Beltram

 

 

On the other hand, Casey (Kylie Young) is an old hand at first/blind dates and makes no bones about it. But that, it is.  She won’t commit. She’s more of a free agent; somewhat of a bohemian, hip and at first glance, quite the opposite of Aaron but likeable in her own way. 

 

But that’s not all there is to the Austin Winsberg (Book), Alan Zachary & Michael Weiner (Music & Lyrics) musical. If it was just the two, it would have been boy meets girl on first date, after a few drinks and an exchange of niceties and so long, it’s been nice to know you.

 

But the creators of “Blind Date” that premiered on Broadway in 2013 still resonates today with a super energetic cast of seven, five popping on the stage singing of all that could go wrong on a first date, somewhat like a Greek Chorus oft times family members, (past and present) and friends supporting each in their efforts, taking on a life of their own in real time.  

 

Enrique Arana and Andrew Gutierrez

 

When Aaron walks into the ‘Grub Spot’, their meeting place, it is pretty evident that he has been set up for a blind date. He’s nervous and looks uncomfortable. The local bartender (Enrique Arana, who plays several characters as do the rest) takes him under his wing and with a few changes turns his look from uptight to casual (tie off, untucked shirt and open collar). She on the other hand, has the confidence of one who’s been there before (“First Impression”).

 

Supporting cast along with Monts and Young (who stepped into the role following Adelaida Martinez departure) includes Sheby Beltran, Jaden Guerrero, Andrew Gutierrez, Enrique Arana and Emily Candia who are all excellent making director Kevin “Blax” Burroughs, whose timing is impeccable, job look easy.

 

Jaden Guerrero and Shelby Beltran

 

Both Monts and Young have this push me pull you thing going. Just when one seems settled, someone from their outside world comes and shows another revealing characteristic, like when Aaron reveals he is Jewish (“The Girl for You”) and Casey’s priest (Enrique Arana) makes an appearance, and Shelby Beltran the talented runaway bride. It does get complicated after a while but its so damn funny, even this a skeptic couldn’t help but lol.

 

Director Kevin “Blax” Burroughs is also credited as musical director, lighting designer and choreographer. Now that’s talent. Benjamin Goniea on keys is also Music Director. Roy Jenking is on Bass and Preston Lange is on drums. Costume design credits go to Brad Dubois, sound mixer. Remus Harrington and Set design, Reiko Huffman.

 

For some fun and, perhaps comparisons, “Blind Date” should be your cup o’ tea.

 

 

Dates: Through Nov. 6

 

Organization: OnStage Playhouse,

 

Phone: (619) 422-7787

Production Type: Musical Comedy

Where: 291 3rd Ave, Chula Vista 91910

 

Ticket Prices: Adult $25, Senior / Military / Educator $22, Student / Under30 $15

 

Web: www.onstageplayhouse.org

 

Photo: Daren Scott

 

 

“Lempicka…A New Musical” At La Jolla Playhouse, An Arousing Tribute to Tamara de Lempicka!

 Robust rumors are circulating that “Lempicka A New Musical” is already scheduled for a Broadway run. With book, lyrics and original concept by Carson Kreitzer, book and music by Matt Gould choreography by Raja Feather Kelly and directed by Rachel Chavkin, it is currently at the La Jolla Playhouse through July 24th making its West Coast Premiere.

It made its world premiere in the Williamstown Theatre Festival in 2018.  While stopping here for its second showing, after a Covid delay, it is hoped with some cuts and possible improvements to the lyrics, before going to The Great White Way it will improve the outcome. 

Tamara de Lempicka’s story begins and ends in L.A.  and segues back to her early life in Warsaw at the beginning of the rise of Bolshevism, to her first marriage in 1917 in St Petersburg to a wealthy Polish lawyer. Tadeusz Lempicki. They lived like royalty until their world was turned upside down. Her husband was arrested by the secret police. Giving her jewelry to them was not enough to free him. They wanted her. 

Eden Espinosa as Lempicka

Once free they left with their daughter, Kizette whom she called her niece so she wouldn’t be considered old enough to have a daughter, to Paris. There she scrubbed floors to keep the family going while Tadeusz looked and looked finally landing a job at the bank doing menial work. It was in Paris that she pursued her painting on a serious level studying with a hard assed domineering teacher, Filippo Marinetti who called her a ‘difficult woman’. 

Before she made her way to her own studio, she was encouraged by wealthy Baron, who later became her second husband, (Victor C. Chan) to keep on painting. From there, at the suggestion of her sister and with help from the Baron, Lempicka decided to become a serious painter. She went on to Académie de la Grande Chaumiere. Now she was fully engaged with Marinetti (George Abud is excellent and almost steals the show with his brilliant singing and acting) as her teacher, the same one who called her ‘that difficult woman’.

Andrew Samonsky and Eden Espinosa

 Nothing much has changed since most hard -nosed men can’t tolerate strong women. Make no mistake, Tamara Lempicka was a very strong willed woman and that’s what makes her so interesting. That and the fact that she found women as seductive as men and openly had affairs with both. Her relationship with her prostitute muse Rafaella, who frequently posed nude for Lempicka, while they carried on their affair was nothing less than blasphemous to her husband, who was also having affairs outside the marriage. Go figure. 

Not long after she gained notoriety for her works in Art Deco forms, the rich and famous Parisians were buying her works for hefty prices.  Once again, her world was turned upside down with the rise of anti-Semitism (she never forgot her Jewish roots) and a Nazi takeover. It was at this point in her life and career that she had to make haste and flee to America where we learn she had residences in both New York and Beverly Hills. 

One can’t accuse Tamara de Lempicka of having a dull life. While some of her story might be exaggerated, the production at The La Jolla Playhouse leaves no stone unturned from Riccardo Hernandez fast revolving sets offset by Bradley King’s fluorescent angular lighting, to Anita Yavich’s stunning and bold costume designs (with the exception of Eden Espinosa’s Lempicka who pretty much wore the same costume and hair style (Tom Watson) from almost beginning to end.

Eden Espinosa and Amber Iman

Choreographer Raja Feather Kelly showed us some pretty different types of dance, oft times sexual in nature but for the most part seemed like an exercise in movement. However, Peter Negrini’s projections brought us back to reality with scenes from Germany’s rising influence.

Matt Gould’s score under the baton of Charity Wicks ten piece orchestra is loud, frenetic and with a fast moving beat with no real ballads that make a connection to the time, was disappointing. Carson Kreitzer lyrics are pedestrian, redundant and don’t really add much to the overall story. They are never developed into anything that holds the story together.  

One or two bluesy numbers sung by Rafaela an extremely talented and beautiful Amber Iman and another of Lempicka’s female amours Suzy Solidor (Natalie Joy Johnson) who owned the all-female club, until it was destroyed by the Fascists, were out right on track. 

The acting is exemplary by each and every character in the show with Espinosa at the center of this very long production running at three hours, is talented. Amber Iman's Rafaela is fascinating as she seems to be the only one in Lempicka’s world to have power over her (“Stillness”), at least at times. Andrew Samonsky’s Tadeusz Lempicki her husband, has no character development. For the fact that his good looks can carry him for a while, he’s mostly just there.

Amber Iman

For her part, Jordan Tyson as Kizette, Tempicka’s daughter is allowed to age beautifully on stage from a young child to a devoted daughter and tell all (to her father) to a dedicated daughter to her mother after her return to Beverly Hills. 

Director Rachel Chavkin is to be applauded for pulling this stunning musical and story off to the degree that Broadway audiences will find it as timely a musical for the ages as did the audiences in La Jolla. With a tweak here and a tweak there, it's a go!

Dates: Through July 14th

Organization: The La Jolla Playhouse

Phone: 858 550 1010

Production Type: Musical

Where: Mandell Weiss Theatre, 2910 La Jolla Village Drive 

Ticket Prices: $25.00 -$95.00 

Web: lajollaplayhouse.org

Photo: Matthew Murphy and Rich Soublet II, La Jolla Playhouse

“Freestyle Love Supreme” Opens Three Weeks of Improv, / Hip Hop and Rap at The Old Globe.

(from left) Kaila Mullady, Jay C. Ellis, Andrew Bancroft, and Morgan Reilly

 Many, many years ago there used to be an Improv Club in San Diego. I used to go often to see various comedians do their acts, which I thoroughly enjoyed. It was an evening of fun, friendship and getting to see some pretty well known and awesome stars. 

Jack Lemon once said that ‘dying is easy, comedy is hard’.  So, if you happen to find yourself at The Old Globe any one of these days through July 10th to see “Freestyle Love Supreme”, don’t think you walked in a ready made scripted Hip Hop /Rap celebration. All of what you will be seeing is performed by a group of musician/ actors in non- stop motion doing their thing. That 'thing' is Improv taken to the nth degree. 

The idea was conceived in 2003 by Anthony Veneziale, Thomas Kail and Lin-Manuel Miranda. (Yes, that Lin-Manuel Miranda). Now well beyond their college days, the group has morphed into this Tony award winning show now on tour around the country. 

On the way into the theatre patrons were asked to write words on a slip of paper and drop them into a bucket. Why, you ask? Well it seems that some of the words chosen for opening night’s presentation were taken from that bucket and voila a story is created by any one of the performers on stage that night. 

Opening night cast.

According to those in the know, different actors appear on different dates. On opening night Jelly Donut or Andrew Bancroft acted as host. Others that I can remember and did enjoy was singer Morgan ‘Hummingbird’ Reilly who riffed on ‘Seasoned Croutons’. Because every audience will react differently to what’s going on on stage making each performance different, I hope they do that one again.

Two stories that came from the audience was the one about a young boy coming face to face with a cougar while at his older brother’s birthday party in the mountains with his family. The funniest was when an audience member revealed that he had driven two hours from Riverside County to San Diego to meet up with his first date. They met at the Globe that night. That garnered a lot of laughs from the audience (he packed an overnight case...just in case) and the young man looked perfectly at ease. 

The cast had a ball rapping and improving about the story and they were good. Oft times one word could take up no less that fifteen minutes to make the round robin of every cast member having their say on the same word or set of circumstances. Some of the takes went on way too long, but you be the judge. The show is 80 minutes or so with no intermission. 

Full disclosure: Hip Hop and Rap are not my most favorite forms of entertainment. The words come too fast for me to get one rap before the next is out, if you get my drift. My brain doesn’t absorb what my ears scramble to hear. As the rest of the audience clapping beyond loud might say; “Not their problem”.

 “Freestyle Love Supreme” has been around for over twenty years, so what do I know. Twenty years or so ago I might have felt differently, but folks, there you have it. If you enjoy this type of entertainment, go for it. I can tell you that from the audience reaction and participation, they were out of their seats with excitement. 

(from left) Morgan Reilly, Kaila Mullady (back), Anthony Veneziale, and Jay C. Ellis. 

Everything about the look of the production is hi tech. Nevin Steinberg is credited for the sound. Beowulf Boritt, scenic. Jeff Croiter, lighting. Lisa Zanni, costumes and Thomas Kail, directed. 

If you are so inclined, give it try for something very different. 

Dates: Through July 10

Organization: The Old Globe 

Phone: 619-234-5623 

Production Type: Hip-Hop /Improve

Where: 1363 Old Globe Way, Balboa Park

Ticket Prices: From $52.00

Web: theoldglobe.org

Photo: Joan Marcus

“The Outgoing Tide” At North Coast Rep. Is Bittersweet And Heartfelt

 72 year old Gunner Concannon has a sure fire plan, all thought out in detail, to end his life and leave his family well off. Peg, his wife of fifty years (give or take) has other plans for Gunner. Her plan is to keep him safe and cared for as his dementia gets worse. Brochures of nursing homes are all over the house. Gunner will have none of it. “It’s like a roach motel, ya check in but ya don’t check out.”

Their fifty (give or take) year old son Jack is in the middle with his own tsuris to deal with. He’s in the throws of a divorce and the conflict between his parents has put him in an untenable family situation. It’s not exactly like walking on eggshells but at times it feels just like that especially when both parents tell him things they don’t want the other to know this or that. It’s kind of a running joke. 

Gunner loves throwing stones into the ocean to see how many times they skip over the water. (I did that as a kid as well only in a lake.) He loves fishing on the beach of his now permanent home on Chesapeake Bay just a walk away from everything he loves and knows, or not.  

Andrew Barnicle and Leo Marks

One thing he does not love and that’s that the idea that he be sent off to a nursing home for people with Alzheimer’s.  His wife Peg seems to think would be good for him; it has a pool; a gym and you have your own apartment. Of course, that’s when you are healthy.  But then there is A Wing…The hospital part.” It’s so depressing”. 

The tides along Chesapeake Bay are as predictable as Gunner is unpredictable; but it wasn’t always that way with Gunner. Oh, sure he always loved a good joke (PC or not,) his television likes included episodes of Cops”, he never could relate to his 50 year old son Jack, in fact when we first meet Jack along the shores of the Bay where Gunner is fishing, there is no acknowledgement of a relationship between father and son. It’s like a stranger happened along. 

Linda Gehringer

And when he tried to watch one of his shows on TV (he even put new batteries in the clicker) and it didn’t work he was convinced the TV was broken until Peg told him it was the Microwave he was pointing at. Or when he came out into the kitchen without his trousers. But ask him something that happened fifty or so years ago, he’s on top of it. 

Bruce Graham’s “The Outgoing Tide” is a bitter -sweet and yes significant play about family, about promises, and end of life issues; no holds barred. It is beautifully performed by a strong cast of three and deftly directed by Nike Doukas.  Oft times not an easy to digest topic especially when Gunner and Peg, whose love affair has always been on solid ground, is at crossroads with how and what decisions must be made.  

Seasoned cast members Andrew Barnicle and Linda Gehringer fit into the roles of Gunner and Peg like hand and glove, complementing each other and showing affection throughout. Neither role is an easy task albeit the topic, a red hot one these days and both are up to the task of convincing us they are in the middle of it.

Linda Gehringer and Leo Marks

Leo Marks has the difficult role of referee, son, father (back home in the burbs of Philly he has an incorrigible son who won’t even bathe) and his EX has not signed the divorce papers. But he hangs in there for his parents, like it or not, and things do manage to come full circle for the family but not without a lot of compromise, hugs, sobbing and resolve.  

Marty Burnett’s set is spot on with cat tails and sprigs of greenery oft seen along the waters off the Atlantic. Another high five for Burnett, Matt Novotny’s lighting, again is spot on, Elsa Benzoni’s costumes, casual beach wear and Aaron Rumley’s sound design has us actually hearing the sounds of the tide. Well done all around.

Andrew Barnicle and Linda Gehringer

Hats off the North Coast Rep. for bringing another great production to our fair city. 

Two thumbs up.

Dates: Through July 3rd

Organization: North Coast Repertory Theatre

Phone: 858 481 1055

Production Type: Family Drama

Where: 987 Lomas Santa Fe Drive, Solana Beach, Ca. 92075

Ticket Prices: Start $60.00

Web: northcoastrep.org

Photo: Aaron Rumley

Oh, Kate! Who Art Thou? Art Thou Shrew or Art Thou Shrewd?

 

Mission Control! We’ve got a conundrum at hand. Shakespeare’s problem play, “The Taming Of The Shrew”,  the most misogynistic  of his plays is back in town on the Festival Stage in Balboa Park, no less, with director Shana Cooper’s reimagining of it to make it less so.  

In subterfuge, there’s lots of shimmering, slapstick, overzealous swaggering, strutting, over- exaggerated humping and pumping with musicians galore with music from "Kiss Me Kate" and Abba to name a few.

Somewhere in the mix, is Kate or Katherine (Deborah Ann Woll) the object of The Bards ‘Shrew’, a haughty, man hating female who of course has to be tamed so that her easy going, beautiful and younger and seemingly tame, sister Bianca (Cassia Thompson) may marry. And who better to tame her? Why the only one who measures up to the task, Petruchio (the youthful and somewhat charming James Udom) from Verona, who came to ‘to wive it well in Padua’. He’s also looking for someone with a huge dowry. 

Bada Boom!

“Shrew” is what “Shrew” acts, says and does and no matter how loudly she doth protest or how much progress women think they have made, Kate, as in ‘the shrew’ still serves ‘tamer’/master/ husband Petruchio. Call it comedy, if low ‘comedy’ is your thing, (it is one of Will’s earliest, and has all the elements of his later ‘romantic comedies’ including the ‘happy ending’). We can debate that point later. 

In case background info is essential this is the one about Petruchio who upon arriving in Padua from Verona discovers that Baptista Minola, (Armando Durân) a very rich Lord in Padua, has two daughters of marriageable age. The eldest is the tempestuous, ‘fiend of hell’, Kate. 

No guy would even consider marrying that one nor, is she interested. Her younger sister, the beautiful and forever wooed Bianca has at least two (that we know), men wishing to marry her, Hortensio and Grumio (Orville Mendoza and Jessie J. Perez). Did I mention that gender bending comes with the territory?  

Also, did I mention the arrival of Lucentio (a handsome suitor Jude Tibeau) has arrived in Padua to attend Padua U. but falls madly for Bianca. Oh, so many plots and subplots. This plays out to many laughs.

Before the wedding and during the (ahem courtship), Petruchio has his own way of taming Kate (“If I waspish, beware my sting”). After the wedding he drags her off to Verona but not before telling all within earshot that she is now his property and may do with her as he pleases. Back home in Verona he refuses to allow her to eat or sleep until she is completely broken (and that is supposed to be funny) and the circus of who will marry Bianca continues. 

Bringing us in and up on all the news that’s fit to print is the peppy and wordy and most of the time drunk Grumio who also happens to be Petruchio’s go- to guy er…Several other characters play multiple roles and some are quite laughable while others are not. 

All of the above is the essence of Shakespeare’s early works, however director Cooper has put a different spin on the same set of circumstances by giving Kate a few more tools by agreeing not to agree with Petruchio but having him turn some of his thoughts inside out so they both agree to agree. A clever turn of events and both, after a fashion, return to Padua as a most agreeable couple to the astonishment of the gaggle of onlookers. To the actors credit, there was a bit of a sparkle between the two upon first meeting. That helps to make it a bit more palatable. 

All of this plays out on a set designed by Wilson Chin. Topiaries of life sized men and women dressed in party outfits stand in the background while the actors play out the story on more turf below. 

Asa Bennie Hostetter designed the costumes including the look alike wedding dresses for bride and groom. That was a hoot especially after it looked like he was going to stand her up for the ceremony. 

Stephen Strawbridge’s lighting is perfect but not so perfect were the animals next door at the zoo who decided to come awake for the show. 

All in all, it was entertaining, but this old timer is still stuck in a time warp and is all too familiar with women(and men) who are abused. If I had my druthers I would rather see "Kiss Me Kate", with  music by Cole Porter. 

OH! You be the judge. Is Kate Shrew or Shrewd?

Dates: Through July 10th

Organization: The Old Globe Theatre

Phone: 619 -234-5623

Production Type: Romantic Comedy

Where: Lowell Davies Festival Theatre, 1363 Old Globe Way, Balboa Park

Ticket Prices: $30.00 and up

Web: theoldglobe.org

Photo: Jim Cox