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.