Review: Theo Ubique’s “The Taming of the Shrew”

Making the most of a risky venture

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Theo Ubique presents:

The Taming of the Shrew
by William Shakespeare
directed by Nick Minas
thru October 4th (buy tickets)

Reviewed by Barry Eitel

Plopping Shakespeare into a cabaret setting seems like a very risky venture. However, so does paring down Andrew Lloyd Weber to fit into a tiny café. Theo Ubique had wild success with that, though, recently reeling in a massive amount of non-equity Jeff Awards for their spring production of Evita. To open this season, the spunky company tackles The Taming of the Shrew, a work a few centuries older than their usual musical flavored fare. The earnest performances tear down the fourth wall and make the intimate space work for the famous comedy, but a flimsy handling of the language keeps this innovative production from reaching its full potential.

Taming_of_the_Shrew2 In the director’s note, Nick Minas describes what Elizabethan theatre-goers would witness at one of William Shakespeare’s original productions: food, musicians, and jugglers— not unlike the cabarets of later centuries. And the cabaret style that Theo Ubique has nailed down works well for Shakespeare’s comedic styling. For a few hours in the cozy No Exit Café tucked away in Rogers Park, clowns, lovers, and ludicrous lords traipse around the tables and drink at the bar.

Minas and his cast do a brilliant job with the using the entire space and engaging the audience. The show begins with the backstage curtain being removed, revealing Lucentio and Tranio staring through the windows facing Glenwood Avenue. The use of this window is the highlight of the show. The audience watches characters peer into the café, run from entrance to entrance, and Kate (Jenny Lamb) even graffitis the building. It also adds a street performance vibe to the production: we watch how people walking by react. Whenever possible, the actors reference this unsuspecting audience, seeking support or sympathy. Opening up the window was a truly inspired choice; it adds another facet to the production and totally redefines the performances.

Taming_of_the_Shrew8 However, many of the actors are unable to wrangle down Shakespeare’s language. While the concepts are fleshed out and the cabaret style is vibrantly portrayed, the actual text is muddled and unclear. This serves as a painful reminder that the scrappy little company has its limits. Ben Mason’s Hortensio has a great physicality, but much of his lines are sped through and the story suffers. Ryan Jarosch as Grumio also rushes through some lines, but no one in the cast has a great grasp on Shakespeare’s words. More attention should have been paid to studying the verse. Considering the text is already full of puns and references that don’t make instant sense to a modern audience, failing to give it the proper respect can be disastrous. Fortunately, the cast is talented and charismatic enough that some of the hurried or imprecise lines can be forgiven, but these missteps add up and blur the story.

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Theo Ubique has played up the original compositions by Ethan Deppe that appear throughout the production. Much of the music is acapella and has a fun, carnival-like atmosphere. A few monologues are turned into song lyrics, these feel more unnecessary than enlightening. The production is also filled with sound effects—cymbals, slide whistlers, shakers of various kinds—that are used throughout. This adds a “Loony Toons” quality to this “Shrew,” but they are used too often. Some restraint would make this stylistic choice a lot funnier.

Taming_of_the_Shrew7 Besides stumbling with the language, the performances are pretty solid. Jeremy Van Meter makes a powerful, sexual Petruchio. Lamb’s Kate is terrifying, yet can reach into the vulnerability the character needs. The two match each other’s energy beautifully, and Minas fills their interactions with intensely physical combat and seduction. Matthew Sherbach is cross-cast as Bianca and does a great job capturing her brattiness. This adds another degree of comedy when she is courted by Steve Gensler’s wide-eyed Lucentio. His Tranio (Mike Oleon), though, can’t connect to the audience as well as the rest of the cast, and Oleon’s performance falters.

The final flaw with the production comes with Kate’s monologue at the end. If played too seriously, the monologue, describing how women should obey their husbands, comes off as backwards for modern audiences. Lamb and Minas couldn’t find the right way to make the finale work, we’re not sure if Kate has been beaten into submission or is tricking Petruchio. In the end, we’re just left feeling uncomfortable.

Rating: «««

View Taming of the Shrew - Theo Ubique

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Black Ensemble Theatre to present world premiere: “The Message Is in the Music”

photo Ricky Message in the music The Black Ensemble Theater opens its Five Play Season of Excellence Dedicated to the Music with the World Premiere production of The Message Is In The Music (God Is A Black Man Named Ricky). Produced, written, and directed by Black Ensemble founder and executive director Jackie Taylor, The Message.. is a fanciful, song-filled production featuring selections by superstars ranging from Curtis Mayfield to Stevie Wonder; The Isley Brothers to The Temptations; The Beatles to Paul Simon, just to name a few. Scheduled for an open run, preview performances will begin October 3, with opening night being Sunday, October 18th. More info here.

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“Billy Elliot the Musical” announces its 3 Billys!

Cloud GateThe 2009 Tony Award-winning Billy Elliot the Musical (website) has announced that Tommy Batchelor, Giuseppe Bausilio and Cesar Corrales will star as ‘Billy’ in the Chicago production of the musical. Billy Elliot will begin an extended run on March 18, 2010 at Chicago’s Ford Center/Oriental Theatre before embarking on a multi-city tour.

Amazingly, more than 1,500 boys auditioned for the role of ‘Billy’!!

The ‘Billy’ bios:

Stage DoorTommy Batchelor, 14, is currently play ‘Billy’ on Broadway in rotation with David Alvarez, Trent Kowalik and Kiril Kulish. Tommy is a native of Palm Beach Gardens, Florida and made his Broadway debut in the role of ‘Billy.’  He started his training at age 4 at Dance Factory in Minnesota and has starred in Miami City Ballet’s production of The Nutcracker as well as having competed nationally in the prestigious Youth America Grand Prix

Cesar Corrales, 13, was born in Mexico before moving to Montreal with his family.  At age 4 he performed with the Royal Winnipeg Ballet in Madama Butterfly.  Among his other credits, Cesar placed first at the Coupe Quebec gymnastics competition in 2008, the same year he joined Canada’s National Ballet School

Buckingham FountainGiuseppe Bausilio, 12, was born in the Swiss capital of Bern and began his ballet training at age 4.  He has performed with the State Theatre of Bern in Coppelia, as well as in the operas Mazzepa and Falstaff, among other roles.  Giuseppe has won numerous awards for the competitions in the US and Europe.

 

The 3 actors will perform in rotation throughout the run here in Chicago