Company Dancer Michelle Thompson reflects on the musicality and hilarity of The Taming of the Shrew. Let us know if you can hear her laughing from the audience.
Tonight we are going to the Long Center to prepare for Stephen Mills’ The Taming of the Shrew, and I am looking forward to putting this production on the stage again. I was in the original cast 10 years ago, toured the production to Washington D.C., performed it again 7 years ago, and now will be performing it this coming weekend – making this my fourth opportunity. There are so many things that make this production special. The story, the humor, the sets, the music, and the joyful movement are all lovely ingredients for an extremely entertaining evening.
The choreography is filled with quick jumps, swirly spins, humorous gestures, and intricate patterns. Mills’ choreography relates directly to the music, which swoops and swirls around you encouraging you to jump, spin, bend, and run with energy. I am one of the Commedia dancers, and there are very few times of stillness throughout the ballet. The Commedia dancers form intricate patterns and lovely movements, but they also shift the scenes and become part of the narrative that helps drive the story forward. It is important when dancing in a corps de ballet and when moving sets that your timing be precise. Musicality and awareness are essential as you move through the ballet, but all this must be done with a mask on that includes a large beak. So not only do your toes have to be in line, but so does your beak. Ha!
I am also excited to perform as one of the Street Women who starts off as a thief and then ends up happily ever after with one of the suitors. Playing alongside Beth Terwilleger, we get to take off our beaks and put on outrageous wigs creating a rush of excitement for Petruchio. Our Petruchio, Paul Michael Bloodgood, falls for our flirtatious moves and silly trickery and loses all his money. Our journey doesn’t end there, though. We come out later in the third act without the wig and dance happily at the Garden Wedding. The third act is extremely joyful and full of celebratory dances and my suitor, Jordan Moser, partners me in many twirls and jumps as we happily dance the evening away.
Throughout this ballet the steps and patterns must be precise, but the acting and comedic timing are vital. Our bodies and faces must communicate the frustration, the joy, the disgust, the flirtation, and the joke so that the audience can fully appreciate the story unfolding. It is important to be aware of your fellow Commedia dancers, your partner, the music, and the audience to communicate the story and to capture the greatest laugh. I always find myself cackling loudly during Petruchio’s house. I hope you will join my cackle this weekend at the Long Center.
The Taming of the Shrew opens FRIDAY, for one weekend only. Tickets available here.
Company dancers Frank Shott and Jaime Lynn Witts discuss comedy, chemistry and what it’s like to dance together as Kate and Petruchio (when they’re already married!)
There is always a sense of anticipation just before casting is posted for any show. Story ballets, like The Taming of the Shrew, hold a particular excitement, and the chance to develop and portray a character on stage can be incredibly rewarding. There are so many different things to think about besides just the dance steps. The story needs to be clear and in the case of Taming, so do the jokes – everything from slapstick to sarcasm needs to read all the way to the back of the audience. It is no easy feat to be believable, funny and dance well all at the same time.
So much of comedy is onstage chemistry between the two leads. The chance to do this with someone that you already share so much with is an indescribable joy. While Jaime and I have had a couple of other opportunities to dance together before, this is the first time that we have gotten to do so in a story ballet. I have always wanted to play a part opposite her in a character-driven piece. She has a sense of comedic timing and theatricality which lights up the stage. Jaime also has a strong personality (just ask around) that when coupled with my own particular “charms” makes The Taming of the Shrew seem like a natural choice.
When casting was posted for The Taming of the Shrew, I was stunned. Not only was I going to get the opportunity to play Kate, but I was going to get to dance with my husband, Frank, as Petruchio. I could already hear the jokes from our friends and co-workers. I guess I have a strong personality and am the oldest of three girls, so Kate and I have a couple of things in common. It has been so much fun getting to work on this with Frank. Comedy is challenging, but we have been able to take advantage of the chemistry we have while working on our characters in the studio. Frank and I have a particular way we banter back and forth, a little like Kate and Petruchio toned down, and it’s so fun to look over and see him making a face I know I would see at home. Sometimes there’s just not that much acting involved – it’s just like us!
We do go home and discuss the scenes we rehearsed that day when we get a second after school, teaching Academy class and putting our daughter to sleep. We talk about what is working, what isn’t working, and where we would like to go with our characters. Jaime’s insights and impressions always give me new ideas of where I could go. Frank sees things from a very different place than I do, so it’s great to have his opinion. It has been such a fun and unique experience so far. We do both have to laugh at the situation sometimes, particularly when I keep telling him I won’t marry him. We can’t wait to see where exactly our characters end up when we get to the shows!
(Oh, and by the way, thankfully Jaime didn’t laugh in my face when I asked her to marry me!)
Don’t miss The Taming of the Shrew Oct 5-7 at the Long Center. Jaime and Frank perform Saturday at 8pm. Tickets here.
If you’re like me, it might just be possible that you never read The Taming of the Shrew in school. But never fear, we put together a handy reference guide to get you up to speed.
Meet Petruchio and Kate (the shrew) from the Ballet Austin version. Their relationship is a tad bit rocky at first…
Petruchio has promised to marry Kate, the shrew, and take her off her father’s hands. Would you take this woman? Let the taming begin.
Movies more your thing? Maybe you’ve seen one of these modern versions:
10 Things I Hate About You:
Based on Shakespeare’s The Taming of the Shrew, this version takes place in a modern day high school. As for the unusual title? It’s taken from a poem Kat (Julia Stiles) writes to describe her relationship with (Patrick) Heath Ledger in the movie.
Kiss Me, Kate:
The 1948, Tony award-winning musical features music by Cole Porter and provides a whole different style to the story. The original production starred Alfred Drake, Patricia Morison, Lisa Kirk and Harold Lang.
Prefer the classics?
This 1967 version of The Taming of the Shrew features Elizabeth Taylor as the Shrew and is not to be missed.
Welcome back, everyone! Our 2012/13 season kicks off in a little more than four weeks with Shakespeare’s hilarious Taming of the Shrew. Don’t worry – you’re allowed to laugh in the theater. See below for casting.
Aara Krumpe / Jaime Lynn Witts
Ashley Lynn Gilfix / Anne Marie Melendez
Paul Michael Bloodgood / Frank Shott
Michelle Thompson / Oren Porterfield
Beth Terwilleger / Chelsea Renner
In the past 10 years, Ashley Lynn Gilfix has danced in her fair share of pieces – both contemporary and classical. Find out what still challenges her, and why she’s incredibly excited to be Juliet.
Performing Romeo & Juliet is a great cap to the season and a truly memorable way to celebrate 10 years with Ballet Austin. I feel so fortunate to call Ballet Austin home, and it has been an amazing journey so far – filled with challenges that have inspired me to grow as an artist and as a person. Each role has demanded something different technically as well as dramatically, and I have discovered a lot of things about myself along the way. Whether it is the creation of a new contemporary ballet or the restaging of an old classic, each experience informs the next. I’m going to be pulling from everything I have learned so far as I take on this incredible opportunity to dance the role of Juliet.
Rehearsing Romeo & Juliet has definitely been a big shift after Light. The choreography is much more classical, which places a different set of demands on my body – being in “contemporary shape” is very different from “classical shape”. Contemporary movement tends to be very expansive, often involving deep lunges, full articulation of the spine and torso, and floor-work, which takes a lot of core and upper body strength. Needless to say, I am usually extremely sore when we begin a new contemporary piece and I spend a lot of time in the tub recovering with ice baths and Epsom salt.
Despite all of this, I actually think it might be harder to shift back into classical mode, like we’ve done with Romeo & Juliet. Everything has to be upright and placed and there are a lot of repetitive motions, which can be hard on the joints and tendons of the lower legs. There is also really nothing that prepares you for being back in pointe shoes all day long – it definitely took my feet and legs a couple weeks to adjust and regain the stamina required for Juliet’s more intricate pointe work. We frequently alternate between classical and contemporary works during the season, and while it can initially be a bit tough on the body, I love dancing both styles and wouldn’t have it any other way.
On an emotional level, working on Light was very draining because of the nature of the subject matter. While Romeo & Juliet is a tragic ballet, it is a fictional story, so the mood in the studio has been much lighter. It is actually a lot of fun to rehearse the darker scenes, like the potion scene and the crypt, because they are very challenging dramatically. One of my favorite things about full-length ballet is the acting, and I really enjoy the challenge of developing a character and showing their evolution from beginning to end. I typically do a lot of research when I’m working on a character in order to gather ideas that may help infuse my own interpretation. For this production I have been reading the play, and watching films and other versions of the ballet.
My Romeo, Paul Michael Bloodgood is also in his 10th season with the company, so it is very special to be performing together. I fondly refer to Paul as my “stage husband”, and in our 10 seasons with the company, we have been paired together in over 15 different roles. Dancing together so frequently has allowed us to cultivate a wonderful onstage partnership and also a great friendship, which allows us to be very relaxed around each other. As a result, it has been easy to explore some of the more vulnerable moments that our characters share as their love story unfolds.
Romeo & Juliet is my favorite ballet. I love Shakespeare. I love the drama. And the grand and sweetly haunting Prokofiev score is incredibly moving. Also, Mills’ choreography is wonderful to dance. For as long as I can remember, I have hoped to someday have the opportunity to dance Juliet, and I am absolutely thrilled to be performing this role next weekend.
Catch Ashley onstage as Juliet on Saturday, May 12. Tickets.
Getting into character and perfect technique – See what Paul Michael Bloodgood says about preparing for Romeo & Juliet.
Performing “in character” is one of my favorite parts of dancing any full-length story ballet such as Romeo & Juliet. Similar to an acting role in film or theatre, trying to embody the emotions and thoughts of a character helps me to interpret the dance choreography for that role into movement that translates to the audience.
Neither character development nor ballet technique is more important to me in a story ballet – they are of equal substance to fulfilling the presentation. If the acting is terrible, the audience isn’t going to care about the relationship between Romeo and Juliet, even if both dancers are technically flawless. On the flip side, bad technique would be equally distracting and pull the audience out of the scene. Although the average observer might think one is more important than the other, to me it’s like cake and frosting: they complement each other perfectly.
Personally, getting “in character” for a role like Romeo involves reading the source material and watching films and ballet productions of the story, then finding my own voice or interpretation of the role. Although I try to transform into the character as much as possible, I believe bringing my own life experience to a role separates it from other iterations of the part.
Ashley (my Juliet) and I have spoken about the intimacies of our characters in depth, but we let ourselves laugh about it all, too. We’ve been great friends for ten years, and having the opportunity to perform Romeo & Juliet with my “stage wife” as she’s been nicknamed, makes our onstage relationship come full circle. Plus, it doesn’t hurt that she’s best friends with my real wife, Anne – a fellow dancer with Ballet Austin and one of Juliet’s friends in the production.
As we head into our last week in the rehearsal studio before production week, I am looking forward to running the three acts in succession to get a good grasp on the pacing and stamina required of me. Also on the check list are little things like trying to dance the piece in Romeo’s leather boots, working out any pas de deux kinks that may result from Juliet’s costumes and rehearsing to the live accompaniment from Austin Symphony Orchestra.
It’s all just a part of preparing for the show.
Catch Paul onstage as Romeo on Saturday, May 12. Tickets.
Romeo & Juliet is without a doubt a beautiful production – expressive emotion, mesmerizing movement and, of course, bejeweled costumes. Take a peek…
Costumes are organized on the rack by Company member. Dancers change frequently during the production, but the largest quick change is the 18-person switch from the Market scene to the Ballroom scene.
In last week’s Romeo & Juliet by the Numbers, we revealed a handful of facts about the costumes. Here is Lady Capulet’s (Michelle Martin, Associate Artistic Director) Ballroom Gown. Supported by two hangers, this beauty weighs a total of 30lbs.
The gown, filled with intricate detailing, would cost several thousand dollars to replace. It is due to the expense of replacing costumes like this one that wardrobe does their best to repair each piece in the weeks leading up to the performance. For Lady Capulet’s 3 dresses, including this one, our two wardrobe people spent 4 days on alterations.
When wardrobe began to repair the costumes 4 weeks ago, they discovered that many of the buttons, brooches and bejeweled adornments featuring rhinestones were in need of repair. In the buttons above, they replaced each of the individual rhinestones. (Ed note: They’ve since blocked this day from their memory.)
Ashley Lynn Gilfix, one of our Juliets, gets fitted for her costume by Wardrobe Master Alexey Korygin. Here they talk about adjusting the gathering in the fabric on her arms.
The costume shop keeps detailed records of every dancer’s measurements. Once ballets are cast, dancers are assigned costumes based on their measurements, and fittings and alterations then proceed from there.
In Juliet’s costume, they replaced all of the pearls and metallic fabric insert that runs down the sleeve. Metallic fabric can tarnish, and when these were pulled out of storage the shiny gold fabric you see now was green.
Tybalt’s costume (played by Ed Carr), needed to have the entire underarm replaced. If you look closely, you can just see the slight difference in fabrics.
For our Romeos’ (Paul and Frank) costumes, all of the sleeve grommets were replaced. Other alterations include re-soling shoes, as well as button, bead and snap replacements. The shop never cuts costumes; they only fold, adjust, pin and sew so as to extend the garment’s lifespan.
Romeo & Juliet opens May 11-13. Tickets selling fast.
Special thank you to Wardrobe Master Alexey Korygin, and Wardrobe Asst. & Shoe Manager Jamie Urban.
Get a glimpse of Ballet Austin behind the scenes and read more about our upcoming performances, as well as get an inside look into the lives of company dancers and Artistic Director and Choreographer Stephen Mills.