The Taming of The Shrew

a BDSM love story

Written by William Shakespeare
Directed & Adapted by
Artistic Director Carly D. Weckstein

Video by Jonny Taylor



Stage Managed by TaShaunna Peterman
Costumes by Emma Harris
Lighting by Ric Zimmerman
Sound by Carly D. Weckstein
Photos by Elizabeth McCoy of Pictor Photography


STARRING

Kaitlin Huwe......................................................Katherina Minola (Prologue: a Lord)
Thaddeus Shafer...............................Petruccio (Prologue: Christopher Sly - a Bum)
Gerard Marzilli..................................................Baptista Minola (Prologue: a Player)
Lindsay LaVanchy............................................Bianca Minola (Prologue: a Hostess)
Zack Hamra..................................................................................................Lucentio
Katelyn Myer....................................................................................................Tranio
Beau Smith............................................................Ho.rtensio (Prologue: a Servant)
Steve Madar...............................................................Gremio (Prologue: a Servant)
Emma Harris...........................................................Grumio (Prologue: First Player)
Joanna Bateman.......................................Biondello (Prologue: a Hound, a Player)
Richard Abraham.....................................Vincentio, Nathaniel (Prologue: a Player)
Jonny Taylor..........Merchant, Josef, Minola Servant (Prologue: a Hound, a Player)
Oliva Delgado....................................................................................Widow, Curtis
Karel Ebergen.......................Tailor, Phillip, the Bouncer (Prologue: Bartholomew)




PRODUCTION STILLS BY PICTOR PHOTOGRAPHY

DIRECTOR'S NOTE

This summer LA’s sex-positive theatre company, The Illyrian Players, bring the heat to Shakespeare’s controversial comedy The Taming of the Shrew. In a stylized 1950’s world, Illyrians explore this classic “battle of the sexes”, as a BDSM love story, which I originally conceptualized
before this company was even founded

This particular play is, at surface value, very troubling from a modern feminist perspective: a fiery woman, called a bitch because she speaks her mind, is tamed by her new husband into obedient submission to his will. However, I believe that a deeper story, a real love story, exists within this text. We are telling the story of a woman who puts up walls of rage - and what happens when she connects with someone whose strong will, personal experience with anger, and unusual sexuality help her to tear down what she is hiding behind. He gives her permission to love herself. And she gives him the world.

Also included is the elusive and often-cut prologue, which technically makes the story of Taming a play within a play. I believe that the prologue is essential; it’s all about the magic of story-telling/theatre, and the power of fantasy to create reality - which goes hand in hand with our lens of BDSM.

This infamously misogynistic comedy (with a long history of varying interpretations) is now re-examined through a sex-positive feminist lens, in a theatrical exploration of sex, gender roles, dominance, submission, kink and consent. Our Taming is set in the 1950’s, where gender roles were just on the verge of unraveling, and seen by an audience in 2013, in our strange modern world,
post Fifty Shades of Grey obsession.

Something crucial that is not literally in the dialogue, and is key to the idea of BDSM is consent. This is a story written before there was a code to practice by - now there is, and that code is safe, sane and consensual. We have tried to explore some moments of consent that are subtle but present in our telling. If you are inspired by tonight’s performance to explore in your own life, I urge you to be responsible, to do your research, and to communicate openly with your partner(s). Only through sharing can our own desires become manifest with others. BDSM without consent is not BDSM – it is abuse. I have seen Taming done before in many ways, once by the RSC as an abuse story – quite powerful on some levels, but certainly no longer a “comedy”. But given the choice, what story does the world need? I think a love story
- but I would love to hear your thoughts, especially if you are familiar with this play and its history.

I believe that the point of theatre is to “disturb”, or to awaken questions and dialogue long beyond the performance itself, inspired by the subject matter of the production. Please feel free to continue this dialogue with me (or any of the actors) after the performance by sending me an email and/or just coming up to me after the show and asking questions or sharing your thoughts/experience. I am happy to discuss anything with anyone approaching with an open mind and an open heart.

Carly D. Weckstein

Photographs by Pictor Photography

d r a g / g e n d e r - a s - p e r f o r m a n c e
c a s t   w o r k s h o p

BEFORE ...

GENDERBENT