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
My first love was a girl named Celeste that I dated for two years. Then she dated my best friend and I at the same time before breaking up with us on the same day. I was 8. [Ed note: Paul will be tweeting during this weekend’s performances. Follow him at www.twitter.com/balletaustin. Look for tweets signed ^PB.]
Most people would say that “ballet” was my first love, but in all seriousness I would have to say my husband Rhys Ulerich. [Ed note: Michelle will be tweeting during Sunday’s performance. Follow her at www.twitter.com/balletaustin. Look for tweets signed ^MT.]
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.
Breakfast: a piece of homemade bread toasted with peanut butter and jam, scrambled eggs, possibly some berries or part of a banana, and coffee
Lunch: a sandwich – turkey and cheese being a common go-to option – or dinner leftovers
Dinner: some sort of protein such as chicken or fish, accompanied by a grain and vegetable combo
Breakfast Recipe - 100% Whole Wheat Nut and Seed Bread
1 1/3 cups lukewarm water
3 tablespoons olive oil
5 tablespoons honey, molasses or maple syrup
4 cups whole wheat flour
1/4 cup sunflower seeds, chopped*
1/4 cup walnuts, chopped*
1 1/2 teaspoons salt
2 1/2 teaspoons instant yeast
To prepare the dough: Combine all of the ingredients, and mix them until you have a shaggy dough. Let the dough rest, covered, for 20 minutes, then knead till fairly smooth. Allow the dough to rise, covered, for about 2 hours, or until it’s puffy and nearly doubled in bulk.
Gently deflate the dough, shape it into a log, and place it in a lightly greased 8 1/2″ x 4 1/2″ bread pan. Cover the pan with lightly greased plastic wrap (or a clear shower cap), and allow it to rise for about 2 hours, till it’s crowned about 1″ to 2″ over the rim of the pan.
Bake the bread in a preheated 350°F oven for 40 to 45 minutes, tenting it lightly with aluminum foil for the final 20 minutes of baking. Yield: 1 loaf.
Breakfast: coffee and oatmeal with a handful of blueberries or some other fruit
Lunch: sandwich with pesto, sliced mozzarella, Roma tomatoes, and something leafy on two slices of homemade whole wheat bread
Dinner: pasta with marinara sauce, ground turkey (or grilled chicken) and possibly some cooked broccoli or spinach mixed in at the end, a salad with crumbled feta and kalamata olives, and a baguette fresh out of the oven
Snacks: Greek yogurt, almonds and fruit are great for workday pick-me-ups
Lunch Recipe - Homemade Wheat Bread
7 cups whole wheat all-purpose flour
1 1/2 tablespoons Yeast
1 tablespoon kosher salt (increase or decrease to taste)
1/4 cup Vital wheat gluten
Mixed into a food safe but not airtight container, add and mix in:
3 & 1/4 cups lukewarm water
1/2 cup of honey (You can also use only water instead of honey)
Don’t over-mix, this is a no-knead recipe!
Leave container of dough covered, out on the counter for 2+ hours to allow it to rise, and then put it in the refrigerator. You can use the dough piece by piece for up to two weeks.
Pull off a cantaloupe-sized chunk of dough, shape it into a ball, then elongate it a bit into an oval and toss it into a loaf pan. Let it rest (loosely covered with plastic wrap) for 90 minutes and then bake it at 350 degrees for 50-60 minutes. Note: If you use only water you’ll have to adjust baking time and temperature, but the process is essentially the same.
After letting the loaf cool, slice it up to have sandwich bread for the week!
Breakfast: a bowl of cereal, some juice, and a banana
Lunch: leftovers, or a sandwich or something else quick from a nearby restaurant. Can’t miss homemade Thai food from Royal Blue Grocery on Fridays!
Dinner: simple and quick meals for dinner, with enough for a few days of leftovers
Snacks: fruit, yogurt, trail mix, and chocolate milk
Dinner Recipe – Ed’s Simple Stir Fry
6 tablespoons soy sauce (or to taste)
2 tablespoons minced ginger
2 (or more) cloves of garlic, minced
Optional: crushed red chilies, rice vinegar, teriyaki/Sriracha/hoisin/oyster sauce, etc.
sesame or other neutral oil (for use over high heat)
1 onion, chopped
1 lb. tofu (or another protein), cut into bite-sized pieces
6 cups assorted vegetables chopped into similar shapes/sizes
A splash of water, stock or white wine
First, prepare the sauce by combining the soy sauce, ginger, garlic, and whatever else you like in a small bowl. Taste, adjust, and set aside to let the flavors meld.
At this point it’s best to prepare all the other ingredients and have them ready by the stove.
Heat a tablespoon or so of oil in a large skillet or wok over medium-high heat. Add the onion and cook for a minute or two, stirring occasionally. When the onion begins to soften, add the protein and cook until the tofu begins to brown or the meat is almost fully cooked.
Add a splash of the sauce and cook, stirring frequently, until the tofu is nicely browned or the meat is done. Remove the onion and protein and set aside. Return the pan to the heat and add another tablespoon of oil. When the oil is hot, add the vegetables and turn the heat to high. Add the splash of liquid and cook, stirring constantly, until the vegetables are tender.
Turn off the heat and return the onion/protein mixture to the pan along with the rest of the sauce. Stir until evenly mixed and heated through. Serve immediately over rice or noodles, and save the leftovers for lunch!
You can see Brittany, Anne Marie and Ed in all of their well-fed glory, May 11-13 in Romeo & Juliet. Tickets here.
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.