THE DESIGNING AND STAGING OF A

HIGH SCHOOL PRODUCTION OF
mIAMINGQLEESHREW

Thesis for the Dogma 9f M. A,
MICHIGAN STATE COLLEGE

Ernest John M0119!
1954

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LEE-ERARY
Michigan State
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This is to certify that, the

thesis entitled

THE DESIGN AND STAGING OF A HIGH SCHOOL

PRODUCTION OF THE TAMING g E SHREW
presented by

 

 

\

Ernest J. Mauer

has been accepted towards fulfillment
of the requirements for

M o A . degree in im—

fl  ,

Major professor

Date “1811315 121 19511

O~169

THE DESIGNING AND STAGING OF A HIGH SCHOOL PRODUCTION
OF TH]: TAKING _Q_§‘_ THE 31mm

 

A Thesis
Presented to
the Faculty of the Department of Speech
Michigan State College

 

In Partial Fulfillment
of the Requirements for the Degree

Master of Arts

 

by
Ernest John Mauer
M

August 1954

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Katherine - Petruchio

ACKNOWLEDGMENTS

In preparing this thesis and staging the production
of Eng Taming g; the Shrew, the author has had the assistance
and encouragement of many individuals who deserve heartfelt
thanks. To the students and staff who spent so many hours
aiding the production in many ways an added word of
commendation is here given.

Among those who were responsible for this study at
Michigan State College special thanks are extended to the
following: Dr. Wilson B. Paul, head of the Department of Speech,
Professors Donald Buell and David Potter for their aid in '
organizing the written material; and Dr. Zack York, Mr. Virgil
Godfrey, and Mr. Harold Niven whose technical advice was
invaluable When the production was in the planning stage.

The author would further like to thank Mr. Paul Briggs,
Superintendent of Bay City Public Schools, and Mr. Arthur
Cansfield, principal of Handy High School, for making the
production possible. Within Handy High School, the author is
indebted to the many departments for their cooperation and
assistance in the various aspects of the production and
especially to the following individuals: Mr. Neil Ringle,
chairman of the English department; Mr. Clarence Murphy,
director of dramaties, whose untiring efforts toward a sound

dramatics program aided greatly in the realization of a

 

 

finished production; and Miss Florence Sutton, for her super-
vision of the costume construction.

Student organizations that performed the major
proportion of the actual work involved in staging the play
were Thespian Troupe #143, the Art Club, and the advanced art
class. These groups are to be commended on their industrious-
ness and superior quality of their work. In painting and
building the set, the author had the loyal aid of Robert Freed,

Ward Vanderwill, Raymond Maxson, and Gerald Maxson.

TABLE OF CONTENTS

EIONTISPIECE

ACKNOWLEDGMENTS

CHAPTER

I.

II.

III.

IntrOdUCtionoeeeeeeeeeeeeee

A.

C.

D.

The purpose of producing gh£_Taming g;
3113 M in high school theatre . . .
The role of the designer in the
production . . . . . . . . . . . . . .
General problems of design as related
to production in high school . . . . .
General discussion of the production
situation at Handy High School, Bay

Clty,Michlgan...........,.

Planningtheahow............

A.
B.
C.
D.

The demands of the author . . . . . .
The demands of the script . . . . . .
The demands of the director . . . . .

The demands or the Stage 0 e e e e e 0

Designing the Show 0 e e e e e e a e e e e

A.

B.
C.
D.

Meeting the demands of the script,

author, director, and stage . . . . .
Designer's working drawings . . . . .
The model: its purpose and use . . . .

Light plots . . . . . . . . . . . . .

PAGE

13

16
29

34
40
44

51

51
68
76
81

-_._.--—-

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TABLE OF CONTENTS

IV. Iroducing the show . . .

A.
B.
C.
D.

Building the show .
Mounting the show .
Running the show . .

Integrating the show

V. [valuation e a e e e e e

A.
B.

(CONT'D)

Audience opinion . . . .

Opinion of the designer

0

VI. The script with technical cues

B 131110qu 0 O 0 O O O O O 0
APPENDIX . . . . . . . . . . .

PAGI
88
88

101
105
137
lhl
141
INS
150
220
223

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TABLE
I.
II.
III.
IV.
V.
VI.
VII.
mi.
IX.

LIST OF TABLES

Crew'Work Sheet Schedule . . . . . .
List of Major Units Required . . . .
Paint Samples of Set Colors . . . . .
Scene Shift Plot and Assignment Sheet
Colored Gelatin Plot . . . . . . . .
Property Plot and Assignment Sheet .
Furniture Plot and Assignment Sheet .
Costume Plot . . .8. . .1. . . . . .

Costume Color Swatches . . . . . . .

PAGE
23
97
99

113

115

116

118

120

133

LIST OF FIGURES

FIGURE

1.
2.

3.
b.

11.
12.
13.
14.
15.
16.
17.
18.

119.
20.
21.

Photograph - "Come sit on

me.“

PAGE

. Frontispiece

Layout of Handy High School Stage - Sheet 1

Rigging Diagram.; Sheet 2 . . . . . . . . .

Scheme of House and Interior Positions -

Sheet3eee'eeeeee

Preliminary Sketches . .

Color Photograph of Preliminary

Sket Ch 0 O O O O O O O O

Designer's Floor Plan - Sheet 4

Level Arrangement - Sheet

Designer's Elevation - She

5 . .
et 6

Designer's Elevation é Sheet 7

Designer's Elevation 4 She
Designer's Elevation - She
Designer's Elevation 4 She
Color Photograph of Model
Color Photograph of Model
Master Light Plot - Sheet
Light Plot Detail - Sheet
Light Plot Detail — Sheet
Light Plot Detail - Sheet
Light Plot Detail — Sheet
Technician's Floor Plan 4

et 8

et 9
et 10
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12 .
13 .
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15 .
Sheet

Water

18
19

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67
69
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83
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FIGURI
22. Technician's Elevation - Sheet 17 ... . . .
23. Technician's llevation — Sheet 18 . . . . .
2b. Technician's llevation - Sheet 19 . . . . .
25. Detail Drawings - Sheet 20 . . . . . . . . .
26. Detail Drawings - Sheet 21 . . . . . . . . .
2?. Switchboard Diagrami- Sheet 22 . . . . . . .
28. Costume Sketch - Petruchio . . . . . . . . .
29. Costume Sketch - Katherine . . . . . . . . .
30. Costume Sketch - Lucentio . . . . . . . . .
31. Costume Sketch - Bianca . . . . . . . . . .
32. Costume Sketch.é Baptists . . . . . . . . .
33. Costume Sketch — Biondello . . . . . . . . .
34. Costume Sketch - lortensio . . . . . . . . .
35. Costume Sketch - Natalia and Josepha . . . .
36. Costume Sketch - Gremio . . . .,. . . . . .
37. Costume Sketch.é Grumio . . . . . . . . . .
38. Photograph of lntire Set . . . . . . . . . .
39. Photograph.4 “Fiddler, forbear; you go too
forward, sir.I . . . . . . . . . . . . . . .
#0. Photograph.é 'Is't possible you will leave
us tonight?I . . . . . . . . . . . . . . . .
#1. Photograph.a “Who brought it?“ . . . . . . .
#2. Photograph.- “Why, what in the devil's name

LIST OF FIGURES (CONT'D)

call you this 2' .

PAGE
92
93
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95
96

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123

124

125

126

127

128

129

130

131

132

152

177

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192

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LIST OF FIGURES (CONT‘D)

FIGURE PAGE
57. Play Program.- front . . . . . . . . . . . . . . 235
58. Play Program.- back . . . . . . . . . . . . . . 236
59. Mailing Brochure . . . . . . . . . . . . . . . . 23?
60. Mailing poster . . . . . . . . . . . . . . . . . 238

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CHAPTER I
PART A: THE PURPOSE OF PRODUCING
mwmmmmmfl
SCHOOL THEATRE

Competent productions are possible in the field of
high school theatre even though the undertaking and plan of
production may be of a comparatively complex nature. Although
this contention is not the governing factor in the development
of a high school dramatics program, the importance of com-
petency figures in the end result. To claim a rightful place
in an cverall.high school program, the dramatics offerings
should strive to fulfill three needs: first, it should provide
an outlet for serious theatrical efforts both for students and
adults especially if such opportunity is not already offered
in the community; second, it should provide students with
special talents and interests the opportunity to display them;
and third, it should provide the school with a large proJect
to serve as a vehicle for extensive inter-departmental
collaboration involving as many departments as possible.

The director, Clarence Murphy, in his thesis concerning
the direction of Shakespeare in high school states:

'...there is a need to perform
the classics in the theatre...the

writers of the drama wrote [theg7 to be
performed...there was an educational

 

 

 

an}. .

 

 

 

need of the students not being met...
Shakespeare seemed to be a logical
choice.“

1

The director, therefore, inaugurated the use of the Shake-
spearean drama as a yearly project of the Thespian organization
with a production of Macbeth in 1953. The production of
Shakespeare was filling a need for the students and for the
community, as previous to Macbeth, no dramatic group had
presented a play which could be termed a classic. these groups
include the nine high schools in the city (two public and

seven parochial), and the Bay City Players, Inc. (the community
little theatre). Audience response was gratifying as indicated
by the fact that a total of twelve hundred people attended the
two performances and the play was well received.

In view of this response, the director and the designer
decided upon gag Eggggg 9; 3h; Shag! as the second Shake-
spearean production. they felt that this comedy would make an
effective contrast with the tragedy of Macbeth. The designer
believed that this play, with its challenge of many locales of
action, its need for a swiftly paced plan of production and
its setting in a different period and place was of sufficient
merit to expend the efforts and energy of a thesis production.
He further believed the numerous locales of action of the show
would call for a complicated plan of production thereby
challenging his talent as a designer. the high school cast and

‘

1Clarence Murphy, “The Adaptation and Direction of
Shakespeare's Macbeth for Bay City Handy High School.‘
Unpublished Master's Thesis, Michigan State College, East
Lansing, 195b, p. h.

 

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3
crews would also be challenged to their utmost, yet the show
could be designed so as not to exceed their limit of achievement.

The subsequent production of Egg Eggigg‘gg_thg,§ghggg
did present an opportunity for many departments of the school
to work toward a common goal. The English, art and dramatics
departments were concerned most directly in this project.

In the English department, the teachers discussed the
play under consideration and in so doing helped create an
appreciation of the play prior to the production. All students
have the experience of reading Shakespeare in the eleventh
grade when they study either Macbeth cr Julius Caesar. In the
twelfth grade, some students also study Hamlet. The English
teachers try to familiarize the student with the Shakespearean
idiom; but, as Marchetta Chute points out, mere reading of
Shakespeare cannot begin to give the student an appreciation
of the power and vibrancy of the plays which can be projected
by means of a live production.2 Since all three plays studied
are tragedies, the presentation of the comedy, ghg Taming g; Eh;
ghggg, served to enrich the students' experience by giving them
a fuller appreciation of the wide scope of Shakespeare's plays.

The art department used the production as a motivating
factor to study architectural and decorative schemes of the
period of the play, create costume designs, and design and con-
struct the various props and set decorations needed in the

staging. This project also stimulated some students to an

 

zflardhette Chute, “From Shakespeare To Shakespeare',
Seventeen, July, l95k, p. 70.

 

 

' ""3

 

4
interest in the painting of stage settings, and this interest
has carried over to other productions. The choice of play
also gave the students an opportunity to explore possibilities
in the realm of advertising in which designs for posters, both
flat and mobile, mailing brochures, and play programs were
needed.

As already pointed out, the dramatics department re-
ceived the most direct benefits from the production of Shake-
speare. The student actors were confronted with a challenging
array of difficult roles to portray, and the crews were faced
with complex problems in painting, mounting, lighting, pro-
perties, make-up and running the show. The addition of a
Shakespearean play added a new dimension to the dramatics pro-
gram Which had included one-act plays, one children's show, two
full length plays and skits for the annual musical show.

Other departments which contributed to the overall
success of the project included the print shop which was
responsible for printing the tickets and the play program; the
wood shop Which constructed all necessary stools and tables and
offered technical advice to the crews when problems arose
during the construction of the set; the metal shop which helped
crews fit hardware and metal fittings and repaired metal clamps
on faulty lighting equipment; the speech department which aided
in the publicity by sending students to classes throughout the
building to speak about the play; the music department which
provided suitable vocal and instrumental selections before and

during the performance to help establish and maintain the mood

of the show; the journalism department which provided news
coverage with articles about the play which were printed in the
school newspaper, THE HANDY’PEP, and also disseminated infor-
mation to the city newspaper, THE BA! CITY TIMES; and finally
the homemaking department which undertook the enormous task

of sewing and fitting the great number of costumes demanded by
the play. Even the school office help were recruited to help
by typing and mimeographing brochures which were mailed to many
schools in the surrounding area for publicity purposes.

In summary, the cooperative attitude which the all
school production helped to foster encouraged a more democratic
spirit along the students. This spirit of democracy was one
of the goals set up as part of the educational philosophy of
Handy High School by the principal, Mr..Arthur H. Causfield,
and the faculty.3

3 . “Handbook of Information, Procedures
a RegulationsflI (a statement of philosophy of education,
T.L. Handy High School, Bay City, Michigan, September, 1950).

PART B: THE ROLE OF THE SCENE
DESIGNER IN THE PRODUCTION

The designer must contribute to the overall production
an appropriate environment which will establish the mood of
the play and yet in no way detract from the action and dialogue
occurring in and around it. Settings are not an end in themp
selves, but one of the many facets of the production which
impinge upon the consciousness of the audience. The dramatic
element is of foremost importance in the theatre. According
to Victor DlAmico, eminent art educator:

'...we must remember that our
motive is to intensify the drama, and

that;the design or the setting is
subservient to the play."

4

The designer is faced with the problem of creating a
setting for the stage on one hand, but limited to keeping his
art from becoming too obtrusive on the other. Within this
limitation the designer must in some manner reflect the spirit
of the play and also establish with the audience an accurate
emotional rapport which will prepare them to be suitably
receptive to the play. Another important factor a designer must
bear in mind is to uphold the integrity of the author's original
intent. In most cases, the author has definite reasons for
specifying a particular mood, atmosphere, or locale. If the

designer disregards the author's intentions and designs the show

*-

“Victor D'Amico Theater Art. (Peoria, Illinois: The
Manual Arts Press, 1931 , p. 52.

 

III. 'nllnl..g

7
with no regard to agreement in the style of the design and the
writing, the production is certain to be non-integrated.

The trend in playwriting has more and more demanded
that the designer tell portions of the plot in terms of the
setting. A perceptive designer can picture for the audience
many factors about the type of people the characters are;
their tastes, interests, approximate income, and social position.
The setting can also establish a certain mood, or atmosphere,
or even a specific locale. During the course of the play, even
the success or failure of the characters can be indicated.

Lee Simonson, noted designer, states:

'...the increasing emphasis placed
upon stage scenery is due to the fact that
playwrights themselves use it more and more
as a prop to playwriting and depend on the
details of the stage setting to do the work
they formerly had to do with words.“ 5

The demands of the playwrights in the modern American
theatre have brought into being this unique hybrid art known
as scene design. Prior to this time, scenery was generally
conceived of in terms of flat wings and drops and was painted
and created by people who were primarily easel painters. The
stage picture was generally thought of as a flat picture plane
and depth was achieved by painted illusion and not actuality.
How the designer not only must be an artist, he must also be

schooled in the theatre, thereby becoming an artist of the

5Lee Simonson, The St e‘Ig Set. (New York: Harcourt,

Brace and Company, Inc., I932 , p. 109.

 

 

 

8

theatre. In this respect his importance in the production has
grown. Shelden Cheney writes of this development:
' llIn the twentieth century theatre,
indeed, the playwright and the author have
become less conspicuous, less talked about,
than the scene designer. He has extra-
ordinarily widened the capabilities of the
stage for a purely theatric - not painted -
visual beauty." 6
The allusion to 'uot painted' in the above quotation indicates
very pointedly that scenery was being thought of as plastic
rather than in terms of the drop and wing. The stage area began
to be treated in terms of spatial relationships established by
means of scenery and light. This space conception provided a
three-dimensional environment in which the threeodimensional
actor could relate himself convincingly.

The designer must at all times be aware of the mechanics
involved in staging. He must not let the attention of the
audience wander because of too many lengthy pauses for set
changes. Also he must not letthe ponderousness of an overly
designed and executed production overcome the audience with its
cleverness and virtuosity; thereby obscuring the primary ob-
jective of the spoken word. Sheldon Cheney in speaking of the
trend away from this elaboration in theatre design and stage
plants has written:

Ithe entire edifices of engines,
wagons (mechanized), turnstiles, rockers, 7
etc., etc., has been discarded..."

 

GSheldou Cheney, The Theatre. (New York: Tudor
Tubliahiug Company, 1935). p-

71b1d., p. #97.

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9
And he has also stated in reference to modern production methods:
“the new methods have the
immense advantage of doing away with
the long waits between acts which are

inevitable with the old-fashioned

picture-settings... 8

How a situation exists where the audience is educated to a
smooth running, fast paced show; yet, the machinery generally
accepted to accomplish this result has been gradually fading from
popular use. The problems to the designer are thereby increased.

In staging a play calling for more than one locale two
distinct methods have evolved to effect the required changes.
First, the actual change of setting by some device; and, second,
the unit setting. In the words of Lee Simonson:

"In scene shifting, two different
trends continued to develop. On the one
hand, part of the glamour and excitement
of a performance was watching settings
change, often without the lowering of a
curtain. On the other hand in unit
settings or 'simultaneous' settings used
today...actors move from place to place
as the play progressed.“

Hith the use of the unit setting there is a possibility
that the audience could become weary of the same set arrange-
ment during the course of the show. Avoidance of this possi-
bility could be accomplished with the judicious use of small
set pieces to provide variety in the setting, and imaginative

lighting to alter the visual impression of the set for the

81bid., p. 531.

9Lee Simonson, The Art Of Scenic Desi n. (New Iork:
Harper and Brothers, Publishers, "1950), p. 53.

'11‘Ie'

: been...

 

10
audience. The method of scene changing to divert the audience
also has its advantages and drawback. If the audience can see
what is going on from scene to scene, they can be drawn into
a closer association with and emotional response to the play
and the players. This method can be employed if these changes
appear to stem naturally from the action of the play. The die-
advantage, again is that the audience may consider these changes
nct as a furthering of the action, but as intriguing engineer-
ing feats in their own right. This outcome, of course, will
destroy any illusion the director, author, and actor’have
managed to build up, and prevent the audience from making any
identification with the play.

In order to achieve his effects, the designer has at
his disposal the 'tools' of theatre design. These are line,
space, color, texture, balance, mass, light and the apparent
movement imparted to a set by means of changing light patterns.
There are no set rules for the use of these elements to meet
the requirements of a script, although there are generalities
which are prevalent and generally accepted theatre practice.

Lines running vertically can give the impression of
exaltaticn and stability, while horizontal lines can be rest-
ful or depressing. Jagged lines are exciting; curved or arched
lines may be graceful or romantic. Formal balance is restful,
static and regal as contrasted with informal balance which can
suggest unrest or conflict. A great deal of light and less
lass would be more suitable for a comedy than little light and

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11

great mass. The reverse is applicable to tragedy. Pacing in
a tragedy would tend to be slow and deliberate while pacing
in a comedy is apt to be quick and lively. These statements
are not to be considered as hard and fast rules the designer
must follow, but as suggested approaches to staging of various
types of shows.
within the framework of the above suggestions will
range countless variations and combinations each with its own
validity. Each script must be treated individually and an
attempt made by the designer to convey the essence of that
script to the audience. The designer must be aware of the
dangers of falling into stereotyped responses to scripts by ad-
hering slavishly to the above generalities. The designer owes
this consideration to his audience, and as Lee Simonson states:
‘Sta e design is part and parcel
of the tota effort of interpreting
script, an integral factor in overcomin
the resistance of an audience to dramat c

ideas that transcend its stereotyped
expectations.“

10

The recognition of the need of designers has increased
as they are no longer to be found exclusively in the pro-
fessional theatre. Colleges and universities have added full
time designers to the theatre staffs and courses in scene design
have been added to the curriculum. Some community theatres, in
addition to their paid director, now employ trained persons who

can design shows as well as build them. The high schools are

___.

1°suonaon. mg m .13 £232. p. 98.

12
now beginning to feel the need for competent designers, al-
though the infiltration of such personnel into the schools
has been slow. wherever plays are produced, in professional,
community, college, or high school theatre, the problems of

stage design are present and must be solved.

PART 0: GENERAL PROBLEMS
OF DESIGN AS RELATED TO
PRODUCTION IN HIGH SCHOOL

The staging of plays in the high school most often is
accomplished in one of three ways; the box set, the drapery
set with inserts of needed units such as doors, windows, etc.,
and the plain drape set. Outdoor sets fall into the category
of drops and wings. These methods have been deveIOped because
they'have the advantage of being inexpensive and quickly
mounted. Often the box set is painted a neutral color to be
used for all interior settings. The disadvantage of these
practices is that the quality of the staging degenerated into
monotonous cliches which allow very little or no leeway for
distinctive or creative productions. In the publications of
the National Thespian Society, 'How They Were Staged", out of
a total of twelve high school productions discussed, eight
were staged with a box set, two were adaptations of the box
set, one was done with drapes, and in only one, Moliere's Th3
Doctor,Ig Spggg g; Himself, was an attempt made to design a
series of settings specifically for that particular play.11

The reasons for these production shortcuts are numerous.
In the first place, due to the pressure of time, the director

who must put up the set as well as direct the show cannot do a

 

1llarl Blank, ed., How They Were Staged, Supplements
Number One and Two, (Cincinnati, Ohio: The National Thespian

Society, 19h? and 1948), 15 pp.

Q.
.nmranlnuwflJflWu 1i

 

14
thorough job on both and is forced to resort to these half way
measures. The stage plant at his disposal is, as often as not,
inadequate for a satisfactory production as many stages were
not built for theatrical purposes. Stages existing on one end
of the gymnasium floor or built for the purpose of band concerts
are frequently encountered. The lighting equipment and scenery
inventory are often inadequate. The working budget for the
production is apt to be low, and in many cases the profits
realized from the shows are not turned back for the benefit of
the dramatics department but used for other general school
purposes. This practice deprives students and faculty of any
incentive to improve their shows, because they never get back
any money with which to add to their facilities or equipment.
Therefore, many schools fail to undertake ambitious projects
eliminating the possibility of building up experienced actors
and crews with a working knowledge of good theatre practice.

The result is that there are few shows produced which
would challenge the designer; there are few trained designers
in the high school theatre, and therefore, very little original
design is done in the field of high school dramatics. Even
when elaborate settings are employed, they are apt to be only
reproductions of the set design used in the original production.

The author'has had the experience which has proved that
high school students can undertake and carry out serious
productions of merit. Once they are aware of the value of such

an undertaking, they will turn their efforts and energy toward

be
.>

‘

Iain}. ...1,!...-.1...‘s\

 

15
its successful completion and reach the standard of excellence
set for them. There is no need for slipshod results from
halfahearted attempts. The interest span of the serious
student easily extends over the two month period of preparation
for the regular plays in the dramatics program, and in the
case of _T_I_1_e_ Tging _o_1: _t_h_e_ M, work was begun in late October
and carried over right up until the week of production in early
February.

The production situation at Handy High School is
unique. The director is one who is not unwilling to undertake
productions which will entail a great deal of planning and
hard work to complete them successfully. The designer has had
specific training in the art of scene design and is interested
in creating the best staging possible. The advantage in having
a designer in the school is that the staging can be conceived
so as to meet the limitations of the budget.and the stage, and
yet be suited to the capabilities of the high school student
who will build, paint, and run the production.

Permanent additions to the stage equipment of Handy
High School are purchased from an account known as the stage
fund. This fund is derived from five per cent of the profits
of the five productions done during the year on the stage for
which admission is charged. These productions include the two
regular plays, the Thespian play, the childrens' play, and the
Musical Herry-GodRound. The operating budget for each
individual production is allotted to the director and designer
by the group sponsoring that production.

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PART D: GENERAL DISCUSSION OF
THE PRODUCTION SITUATION AT
HANDY HIGH SCHOOL, BAY CITT,

MICHIGAN

In order to fully appreciate the subsequent discussion
concerning the method of planning and designing the production
of g; m g; __th_9_ M, a statement of the unique pro-
duction situation at Handy High School is necessary. This
situation will be investigated from the following aspects:
the pysical equipment (including the auditorium, the stage, off-
stage facilities, lighting equipment, and scenery); the faculty
interest (including the particular interests of the director
and the designer); the organization of the Thespiau Society;
and the organization of the Art Club.

The auditorium seats eight hundred and seventy-five
people on its inclined main floor; the seats are divided into
three sections with aisles running down the two sides of the
auditorium and two aisles flanking the center section. There
is no balcony although a projection booth exists at the rear
of the auditorium from which it is possible to operate a
follow spot. Host of the general school meetings are held in
the auditorium as are the noonhour movies, music classes, and
evening adult band practice. All major dramatic productions
are held in this auditorium.

The proscenium opening is sixteen feet high and thirty-
six feet long. A permanently set teaser cuts the height of

at

.s

.

 

 

 

17
the opening down to fourteen feet. The usable stage floor
space is fourty-eight feet by twenty-one feet; although the
floor extends an additional three feet in the rear this space
is unusable because musical instrument storage cabinets extend
along most of the length of the back wall. A six foot apron
extends in front of the proscenium opening and contains six
sections of recessed footlights which are flush with the floor
when not in use.

Six feet from the left side of the proscenium opening
is a large permanent storage cabinet for a grand piano, and
directly above this at a height of eight feet is a scenery
storage loft running half the length of the left stage wall.
Six feet from the right side of the proscenium opening is a
fly gallery running more than half the length of the right
stage wall at a height of seven feet. (See Figure l for a plan
of the stage layout.)

From this gallery most of the rigging is controlled
by a counterweight system although there are four lines which
arc.controlled from the stage floor at the rear of the right
stage wall. Controlled from this rigging are the back section
of a three piece, boxstype, beige cyclorama, one canvas back~
drop (which is partially tripped), three strips of border
lights, three beige borders, three canvas borders, and three
wooden battens. The two side sections of the cyclorama are
tripped. (See Figure 2 for a diagram of this rigging.) This
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the act curtain is controlled from a position directly
to the right of the right side of the proscenium opening, and
adjacent to this is the light control panel. This panel has
sixteen induction type dimmers directly connected to permanent
circuits. These include four circuits to the beam lights,
three circuits to the footlights, and three circuits apiece to
each of the three light borders.

Below the stage are the following facilities: one large
sectioned room which is used for costume storage and make-up
room, the other section has toilet and lavatory facilities and
is used as a dressing room for girls; and one room fourteen
feet square which contains tables and a large shelved cabinet
that is used for storage of lighting equipment, tools, hardware,
lumber, nails, upson board, paint, brushes, etc., and is also
used as a dressing room for boys.

Equipment uhieh.has been accumulated as standard
additions include: eleven platforms, eight, sixteen and twenty—
fcur inches in height, most of these platforms are three feet
wide by six feet long; four stair sections of varying dimensions;
and an adequate supply of stage braces and stage screws. The
lighting equipment consists of four seven hundred and fifty
watt ellipsoidal spotlights mounted in the beam position, six
five hundred watt baby spotlights mounted in the teaser
position on wooden battens and a stationary pipe, twelve show
case lights each with its own gelatin frame, four three hundred
satt scoop~type flood lights with four portable metal uprights

21
for mounting, and a stock of one hundred sheets of gelatin
consisting of a selection of the most used colors, assorted
colors for special effects, and frost.

the scenery inventory consists of the following: twenty—
two plain flats of one, two, three, four, and six feet widths
by fourteen feet high (the fourteen foot height is standard);
three window flats of standard height; three French door flats
of standard height (one of which is nine feet long); three
regular door flats of standard height; twenty-two miscellaneous
flats ranging froa.twe1ve and one half feet to six feet in
height and two to six feet in width; three standard size wooden
doors; three large canvas doors; one screen door; one swinging
door; and nine various sized plugs ranging from fifteen inches
to four feet in size.

The crews do all the construction and set painting on
the stage proper as no other suitable space is available for
the purpose. A convenient area with adequate working and
storage space does not exist. Prior to a show, the scenery
being worked on is stacked against the stage walls so that it is
not in the way during the school day. The stage is not
available during the day due to the noon hour movies which are
shown during the three lunch hours and the band and orchestra
classes which occupy the stage the remainder of the day. Con-
struction work and lighting set up, which would involve noise
and the use of the entire acting area, are done on Saturday

mornings, the only time during the week when the stage is not

 

 

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22
taken by some group. Evenings during the school week are
given over to the painting of flats which can be done with a
minimum of noise so as not to interfere with the play
rehearsals which are going on at the same time. Painting can
be done along the stage walls which does not occupy the acting
area needed by the director. .All work done on the plays is
done by students out of regular class time. (See Table I for
schedule of crew work.sheet.)

the dramatics program as instituted and carried out
by the director is one of unusual scope and quality in the
realm of high school dramatics. Students are schooled in the
fundamentals in a course entitled Dramatics which may be
elected for one or two years and which carries full academic
credit. The content of the course includes sections in theatre
history, acting, make—up, directing and scene design. Acting
experience is received in both proscenium and arena productions
giving the student a knowledge of these two contrasting
approaches to acting. Students are also required to attend
plays to become intelligent playgoers as well.

One act plays presented to the general student body
are used as experimental exercises for the inexperienced in
acting and backstage work. A culmination of'the course activity
is a full length childrens' play given in the spring to an
audience composed of children from the grade schools and kinder-

gartens of the city.

 

Iisldhj

 

  

CREW WORK SHEET SCHEDULE

2h

The regular dramatios program consists of two full
length plays cast on an all school basis. In the past these
have included such notable and worthwhile plays as‘gll g:
9293.: _1'_1_1_g Patriots, Arsenic _e‘r_1_d_ Q_]_._c_1_ L529, 93;; M, 19.119. Ag,
1!; 11.3.1292 m, and My. However, the director decided
to add another dimension to the dramatics program by producing
a third play each year, sponsored by the rhespian Society,
which would be a production of a classic. .Another activity of
the dramatics department is the responsibility for the skits
and continuity in the Husical-Merry-Goénound, the annual spring
variety show sponsored by the music department and featuring
the band, orchestra. and a capella choir. From time to time
civic groups call upon the dramatics department to present one-
act plays as a portion of their entertainment programs. the
students are thereby provided with an opportunity to play to
unfamiliar audiences in unfamiliar surroundings. this
discussion of the scope of the dramatics program clearly shows
that the director has unusual insight and ability in his field.
His enthusiasm and drive are vital factors to the success of
his program.

Aiding in these major productions is the designer who
has a vital interest in the staging aspect of the shows and
expands considerable time and energy designing the settings and
lighting.

The organization at Handy High School through which

these activities are carried out is the thespian Society,

25
Troupe #143, who have been affiliated with the National
Thespian Society since December of l9h9. The group meetings
are held every two weeks during the regular club meeting period,
although special meetings are called when deemed necessary,'in
particular, immediately prior to production dates. The nucleus
of all crews is drawn from its members. These crews would
include make—up, properties, stage, lighting, and costumes.
The troupe had had experience with a Shakespearean production
(gcbeth, January, 1953), therefore {513; M93 _o_f_ 1:113 Shag! had
the advantage of being carried out by an organization already
geared to do that type of drama.

Another organization which contributed much to the end
result was the Art Club. This is a group of students who meet
every two weeks and are interested in participating in art
activities which are not a direct part of the regular art
instructional program. This group elected to undertake projects
relating to _i:_h_e_ Mg 2; the m for which they received
twenty-five per cent of the net profit. This money was placed
in the account of the Art Department to be used for needed
supplies or equipment in the art room.

Since many of the Art Club members were also in the art
classes of the designer, most of the preperties and all the
'costume designs were done as class proJects. However, all of
the scenery construction, painting, and mounting, was done out
of school hours, as were the more complicated properties which

would have consumed too large a portion of class time.

«I'll

26

The costume designs,after being worked out by the art
students, were submitted to the homemaking department which
undertook the responsibility for sewing and fitting them. The
complete costume for the female characters had to be made with
the exception of the shoes. Hats, scarfs, dresses, and other
types of head dress were included. For the male characters,
the main items which had to be made were the tunics and the
hats. Tights and shoes were purchased to become a permanent
part of the costume wardrobe. .An adequate number of cloaks were
available from the previous production of Macbeth. These were
made from.heavy velvet cut extremely full. The interest of the
students in this department was stimulated because the styles
of the costumes were so different from ordinary wear, and the
materials purchased were of good quality and exciting colors.

Handy High School is a class A school with an enroll-
ment of 1500 students, fifty percent of which are from rural
areas and the remainder from the city. These students come from
average homes of nationality groups with French, Polish, Swedish,
and German predominating. There are few students from income
groups which could be considered very high or very low. The art
program in the rural and county schools, which feed students to
Handy High School, is negligible. Only in recent years has a
planned art program, under the supervision of trained regular
art teachers, been inaugurated in the intermediate grades
(fifth through eighth) in the city public schools. Therefore
any student entering the high school art class in the ninth grade

isle...

Inn-lurwllhj

27
has had very little or no art background. The general level
of talent, disregarding the factor of lack of training, is
average. There are two or three students who demonstrated
unusual ability in art just as there are a few exceptional
students in any area. Despite this factor of average talent,
the quality of the productions which have been presented has
risen in quality. Undertaking ambitious projects such as
ggcbeth and.ghg Taming 9; Egg Shag! has served to raise the level
of the students' criteria as to the quality and proficiency of
a high school dramatic offering. These large projects help to
build a large group of students whose interest carries over to
the rest of the dramatic activities. Thus, the director and
designer are able to maintain the same high level of excellence
in other, less ambitious productions, a carryover which is in
keeping with the best aspects of educational theatre.

Another factor which helped the production situation
has been the unfailing enthusiasm and cooperation on the part
of teachers and administrators. This cooperation on the part
of the teachers is a direct result of their knowledge that
students are not called upon to take class time for any activity
concerned with the plays. The music teacher has his students
clear the stage of chairs and music racks at the end of each
school day, thereby making it readily usable for rehearsals and
crew work in the evenings and on Saturday. In the event of any
music rehearsals in the evening, he attempts to hold them

elsewhere than in the auditorium. The principal has made the

 

'1

 

 

28
stage available to the director as many evenings as possible
considering the demands made upon it by school groups, adult
education, and outside groups desiring the use of the
auditorium. The designer and the director have at no time

felt that their efforts have gone unnoticed or unappreciated.

CHAPTER II
PART A: THE DEMANDS
OF THE AUTHOR

The difficulty in staging Shakespeare in the present
day theatre is that his plays were written to be played in
an entirely different type of theatre from our modern
proscenium stages. Most of his plays were written to be played
in either James Burbage's The Theatre or The Globe Theatre.
Actually the Globe was re-erected in 1599 from the material
taken from The Theatre which was dismantled in 1598, therefore
there was little change in the basic layout of these two

1

theatres. Since The Taming of the Shrew was written in 1596,

it was originally written to be performed in The Theatre.2
The playing areas, which included the forestage, middle stage,
inner stage, balcony stage, window stage, and tarras, were an
integral part of the architecture of the theatre.3
Shakespeare, in addition to writing, directed most of

his plays. His plan of production included no scene designer

1Sir Sidney Lee, A Life 91 William Shakespeare.
(New York: The hachillan Company, 1929), p.62.

zGeorge Brandes, William Shakespeare A Critical Study.
(New York: The MacMillan Company, l9ll7j'p. 100.

3Cecile deBanke, Shakespearean Stage Egoduction: Then
a Now. (New York: McGraw-Hill Book Company, Inc., 1953), p. 35.

 

30
because I'set scenery or 'painted canvas'...was unknown to the
Elizabethan theatre.'u He changed scenes by the simple
expedient of having his actors move from one area to another.
His reliance on a few simple props plus the imagery created
by the characters through the spoken word were enough to
effectively set the scene. or this, Margaret Webster says:

IThe physical sources on which
he was able to draw more meagre in the
extreme; he used their paucity to
stimulate his own dramatic imagination
to an overwhelming richness." 5
The variety of permanent acting areas enabled Shakespeare to
write into his plays many changes of locals. With his method
of progressing from scene to scene, very little time was
consumed. The plays were written to be played continuously
and any interruption in their flow detracts from their
effectiveness. As Margaret Webster points out:
“It is important that we should
clear our minds of anything which ob-
struots the unbroken flow of Shakespeare's
writing, and that in staging we should
eliminate as far as humanly possible the

breaks and checks which scene changes 6
impose on it.‘

The designer who is to undertake a modern staging of a Shake-
spearean play has to work with a script that must move at
high speed on a stage not now designed to cope with this pace.
His plays were right and workable in his theatre, but the

 

“LOO, 22‘ 2.1.2!” P- 57.

5Margaret Webster, Shakespeare without Tears.
.(New York: Whittlesey House, 19u2), p. 53.

6Ibid., p. 58.

 

 

 

 

 

31
present system of the scene change, the proscenium opening,
the act curtain, and the intermission add to the problems of
the designer. The director also stressed the need for staging

The nging‘gf thg Shrew in the manner of the fast Elizabethan

 

approach such as Shakespeare employed.

After the initial production of Th2 Taming 2; 3h;
Shgg! in 1596, there is evidence that a revival performance
of it was performed as late as 1631. Up until the early
eighteen hundreds, the productions of Shakespearean were
corrupted plagiarisms very often re-writtsn to suit the whims
and ability of a star actor. Colley Cibber's version in 1756,
called gatherine and Petruchio, held the stage until The Taming
‘2; Egg gags! was revived in 1844 at the Haymarket Theatre. By
this time the battle to reinstate the original texts was
almost won and much of the credit is due Charles Kemble and
Charles Kean. However, their productions were hampered by an
antiquarian 'correctness' which were as accurate historically
as they were dull. The staging became more and more concerned
with detail and overpowering pageantry as exemplified by the
productions of William Macready, Beerbohm Tree, and Sir Henry
Irving.

This type of production flourished until the so~called
modern period began to grow in influence roughly starting
around eighteen hundred and eighty. Adolph Appia (1862-1928)
had an immense influence on the future of styles of staging by

suggesting designs for Wagner and Shakespeare marked by an

 

 

32
extreme simplicity and by the use of dramatic lighting. Gordon
Craig, in 1912 in his production of Hamlet at the Moscow Art
Theatre, used movable screens and stair sections in an attempt
to create an imaginative stage picture with no concessions to
realism at all. Another significant event which occurred in
1912 was the founding of a Shakespearean repertory company at
the Old Vic Theatre whose production aims were simplicity and
swiftness and the reestablishment of the playwright on intimate
and personal terms.

In Germany, following the First World War, the dominant
aesthetic movement was Expressionism and this form is exempli-
fied in the playing of Richard gg; solely on a flight of blood
red stairs. In America, in 1921, Robert Edmond Jones designed
Macbeth with lopsided cardboard arches as crazily insecure as
the fortunes of the hero whose mood they reflected and
emphasized.

The main trend from 1900 onward has been toward the
simplification of the background, either by a permanent set, a ‘
bare stage, or symbolic settings, and a consequent emphasis on I
the free flow and importance of the verse, and unhampered
action of the plot. Efforts have been made to disentangle
Shakespeare from tradition, erudition, and decoration and to get
to the heart of the matter. This new approach has been manifest
in the modern dress version of Julius Caesar by Orson Welles
in the Mercury Theatre, the swiftly paced buffoonery of the
Lunts' gag‘raming g; the Shrew, and the productions of Margaret

 

 

 

 

 

33

Webster whose convictions on the staging of Shakespeare have

been quoted elsewhere in this chapter.7

An interesting comment on a very recent production of

The nging 23 the Shrew at the Maddermarket Theatre in 1951
is made by Arthur Sprague:

'...a happy sense of intimacy
existed from the beginning. To this was
added, especially in The Shrew, an un-
encumbered speed. The play fairly danced
along! Even the epilogue from Th2 Taming
g; the Shrew included, and with relative y
inconspicuous cutting, it was over in less
than two hours.I 8

Note: All historical reference as to past performances, players,
and production dates were taken from the following reference.

7Phyliss Hartnoll, ed., .'_i'_h___e_ Oxford obsession 19 3113
Theatre. (London: Oxford University Press, 1951), Sections
categorized under headings: Scenery, Theatrical, and Shake-
speare, Production in English.

 

8Arthur Sprague, Shakespearian Players and Performances.

(Cambridge: Harvard University PresET-l9 3 , p.“T§6.

 

I. N’i Ul‘ I'll

 

PART B: THE DEMANDS
OF THE SCRIPT

Since an investigation of the problems of staging a
Shakespearean play must eventually concern itself with the
specific script to be used, an appraisal of the demands of The
nging 9; the Shrew is in order. The approach to the method
of staging of any script should come from its inherent spirit
and character. As Margaret Webster indicates:

"Every play, self-evidently
requires a particularized treatment
...its own specific difficulties;
settings and costumes must be considered
in relation to the mood and emotional
pattern of each. [The designer shoul§7
...determine the mood of the play...
its atmosphere...pattern, and wholeness
of its effect.“ 9

In the original form of The Tgming g; the Shrew, Shake-
speare has written an ‘induction' which introduces the
Katherine-Petruchio plot and the Bianca-Lucentio sub-plot as a
play within a play. The characters in the ‘induction‘ do not
participate in the action of this plot and sub-plot. The
director of the production at Handy High School saw fit to
eliminate this 'induction' in his adaptation of the script for
two reasons: first, it involves a scene of excessive drunkenness,
an action not encouraged on the high school stage; and second,
it adds more characters to an already large cast, thereby

increasing the staging problems. The adapted script then

 

9Webster,‘gp. gg3., B: 293, 295.

 

 

 

35

contained only the play within the play which could be inter-
preted in a variety of ways.

The nging 23 the Shrew is a noisy, roistering, and
vigorous comedy full of low byplay, thinly veiled intrigues,
and heavy handed slapstick. It is by no means the inviolable
classic to be treated with awesome reverence. Margaret Webster
says this of the play:

flShreg7is fair game for high
spirits..., and Shakespeare would, I
am sure, be the last to object to
anything they may choose to do with

it, using any and every means to be-
guile the eye and ear.‘

10
And Lee Simonson states further:
“It is only because so much of
the fun in The nging‘gf the §¥rew
begins to be heavy and mean ng see
that we send Petruchio and Katherine

rattling from Verona to Padua in a
Ford.‘ 11

The designer must, in some way then, indicate this spirit of
broad comedy. It is the opinion of the designer that a stage
design based on a literal, realistic approach would tend to
destroy the tenuous framework on which the intricate plots and
counterplots are delicately balanced.

The script indicates in two specific places the presence
of large numbers of characters on the stage at the same time;

the wedding of Katherine and then Bianca. This situation

 

1°Ib1d., p. 139.

11sinonson, Th2 Stgge‘Lg‘ggt, p. 98.

 

 

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36 7e.

indicated to the designer that big enough areas would have to a g g;
be provided to accommodate these large numbers of actors. A 'z
' 1

variety of entrances and exits must also be provided to
facilitate the arrival and departure of these characters. The :

comedy could not slow down to wait for all these people to file

was a: marine; ms.

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on and off; rapid stage movement is a vital factor in main-

‘

taining the tempo of the comedy. These entrances and exits are

—am
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also necessary to move people from scene to scene, and also for

Vitae- 4"".‘1: A,

the rapid “ins and outs" of such energetic characters as

"3“ afimi‘}; a"; “a

:

Biondello, Grumio, Katherine, and Petruchio. i

The majority of the scenes occur in Padua; before , ' é
Baptista's house, inside Baptista's house, before Hortensio's I 6
house, before Lucentio's house, and a room in Lucentio's house.
Only three scenes occur outside Padua. These are: two scenes
in Petruchio's country house, and a country road somewhere
between Padua and Petruchio's house. This breakdown of scenes r
indicated to the designer that the major emphasis should be
placed on staging of the Padua area with the remaining scenes ‘
receiving secondary importance. The sequence in which the scenes
were written demanded that locale changes be indicated to the _
audience no less than eleven times. Some method would have to
be devised to make these changes run smoothly and quickly. ’ ;

Shakespeare indicated in the 'induction' that the time
of the play occurred in contemporary England as denoted by the
character of Christopher Sly and his companions in the alehouse. 1

m——— v.7.“
4 ' ”'54-“...

There is no indication as to when the play within the play

 

 

37

occurred, the only definite information being that it takes
place in Italy. A possible assumption would seem to indicate
that it also was contemporary, placing the action at the height
of the Italian Renaissance. (Shakespeare lived from 156k to
1616.)12 The spirit of this era seems admirably suited to the
spirit of the comedy.

The Renaissance spirit was a strange mixture of lusty
enjoyment of life, barbarism and despotism. Yet there was a
flowering of the arts and philosophy. Helen Gardner, noted art
historian, described this era in these terms:

“...the discovery and enjoyment

of the individual and.his world...life

was festive...jousts and weddings

furnished entertainment for the people...“ 13
The major cities were not united, instead they considered them-
selves as distinct political entities, often with the haughty
name of Republics. Bitter rivalries grew up between these
cities and open aggression was not uncommon. Despite this
restive political atmosphere, the arts reached magnificient
heights. This was the age of Hichaelangelo, Raphael, Leonardo
and Donatello. Painting and sculpture were appreciated and
enjoyed by the people and were customarily displayed publicly in

the streets or in public buildings and churches. The air was

 

12Harchette Chute, Shakes ears 3; London. (New York:
Button and Company, Inc., 1939), p. 3.

13Helen Gardner, Art Throu The Ages. (New York:
Harcourt, Brace and Company, 19 , oT‘Ezs.

 

 

 

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38
charged with excitement and expectation. Of the atmosphere of
the time, Rachel Taylor says:

“...it [Etaly7 was peopled by ’
fiery-natured despots, strange heretical,
scholars, daring artists, deliberate
exquisite women, and beautiful wanton
boys, all intent on exploring themselves
and others to the last recesses of
pleasure or pain, and living in decorated
towns set like a stage...‘

1“
Venice was one of the republics isolated somewhat by
her position on the Adriatic Sea. This position did not
prevent her from exhibiting the same characteristics as the
other cities. Rachel Taylor says of Venice:
{[Venicg7...with her broidered
palaces frescoed with festival...fights
and temporises with the Turks...defeats
Genoa her rival...preys uneasily on the
inland cities...“ 15
Padua is in close physical proximity to Venice and there was
amicable intercourse between the two cities. At one time
Venetians were compelled to attend the University of Padua
which was held in high scholarly esteem.l6
This interaction of people and ideas made for a E
similarity of atmosphere between the two cities and the designer

derived many of the decorative motifs for the setting from the

 

1"Rachel Annand Taylor, Invitation To Renaissance
Italz. (New York: Harper & Brothers, Publishers, 1930), p. 41.

151bid., p. 28.

16Maud Jerrold, Ital In The Renaissance. (Boston:
John W. Luce & Company, no., 1927 , p. 115.

 

 

 

39

 

architectural detail of Venetian buildings. Additional motifs . : ei- ;
1 . 5,-
were taken from structures in other cities than Venice as the § ’
staging did not attempt to reproduce accurately specific ,. 3
buildings of the era, but rather to suggest their appearance ? * t :
and at the same time reflect the spirit of the Renaissance.
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PERT C: THE DEMANDS
OF THE DIRECTOR ‘

The designer, in addition to meeting the demands of g

 

the author and the script, must also work with and satisfy
the needs of the director. Since the director is directly re- .3 9 ‘
sponsible for the overall production, an understanding between 3 if

the director and the designer is essential to a well integrated

f
g ‘ .
show. the style of the settings must agree with the acting , -§i: f
style; they must provide needed acting areas of suitable size ~£’ {
and variety with adequate entrances; and they must provide an ;
indication of the locals and mood of the play. ‘
In analyzing E; 193135 2; 3115 m, the director i
decided to meet the demands of comedy by employing a light touch 3
in movement, keeping the plan at a fast tempo, and using bright, 3

gay colors. He emphasized the necessity of maintaining the

""6.
.O

tempo of the comedy by means of a plan of production that

“'0‘-

would eliminate long stage waits. this quick pace from scene .

41- ‘

to scene should, if possible, be accomplished without drawing ; i

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the act curtain, a procedure which would break the continuity

of the play. He concurred with the opinion of the designer con-
cerning the period and locals of the play, but suggested a 1
slightly exaggerated stylization in costume and architectural

detail. this stylization could suggest the time and the place i,

of the play without tying the designer down to a slavish copy 'i
of the ornateness and heaviness of detail characteristic of the I.
5'

 

 

41
period. Another advantage to this approach was that the
designer was allowed great freedom in choice of color, decor,
and architectural detail. The material chosen for use could be
selected discriminately, and then freely adapted to the needs
of the set.

The director also indicated the advisability of
establishing a relationship between the colors in the set and
the colors in the costumes and properties. Colors could be worn
by characters which were similar to the colors in the house with
which they were identified. This keying of color should also
carry through so that color relationships existed between
characters. In this way, harmonious colors would be worn by
characters in sympathy with one another. Similarly, characters
who were in opposition wore colors of extreme contrast in their
costumes. Petruchio were brilliant reds to set off the flashing
turquoise of Katherine. this turquoise also provided an indi-
cation of difference in the characters of two sisters when
compared with the subdued olive green and dark green of Bianca.
the red-orange of the Pedant's tunic differentiated him from
the real Vincentio who were blue.

The designer felt that the houses could indicate the
type of character living in them and at the same time provide
acting areas of sufficient size. The house of Baptiste had to
be the largest and most imposing as he was wealthy and a great
many scenes occur within or in front of it. Lucentio was also

wealthy but he was a gay young blade out for adventure. His

 

 

 

n2
house had to be lavish but more fanciful than Baptista's. The
exterior of the house used in several scenes (one requiring a
practical window for the Pedant) but the interior was needed ‘
only once. However, this was the final scene in the play where-
in Bianca and Lucentio hold their wedding celebration and many
characters were present. These factors indicated that a large ‘
area had to be provided for this scene. The exterior of i
Hortensio's house was required but not the interior. No specific
problem arose in relation to this house in matter of sins; ‘ 4
however, Hortensio was a youthful dandy of wealth and spirit and !
his house could be the most ornate of them all and of smaller
size. Petruchio was an adventurer of some means and had a
country home. This house had to be indicated as apart from the
others which were all in Padua. not more than six dharacters
appeared in this house at any one time so again there was no
problem as to size to be considered. The scene on the country
road served as a transition from Padua to Petruohio's home and
the only requirement was that a feeling of travelling distances
be imparted.

The acting areas established for these various scenes
needed variety of size and location to keep the attention of
the audience. The relative size needed was indicated in the
script by the numbers of actors appearing in the scenes and the
nature of the action. The location of the areas was up to the
discretion of the designer. Another factor decided upon by the

director and the designer was the use of levels in some manner

 

43
to break the monotony of having the entire playing area the
same height.

As indicated in Part D of Chapter II, the designer
anticipated that many of the people who normally work on crews
would have parts in the production. An agreement was reached
with the director that much of the manipulation of scenery and
properties normally falling under the duties of the stage crew
and property crew would have to be delegated to members of the
cast. These duties might conceivably include moving scenery,

putting onstage and striking necessary properties and furniture.

PART D: THE DEMANDS
OF THE STAGE

After decisions have been made as to the mood, locale, ‘
and atmosphere of the play, there still remain the practical
considerations as to the exact mechanical means that were to be

employed to achieve the desired effects. The mechanics are

1"“.

determined by the lighting equipment, the scenery and platform
inventory, the advantages and limitations of the stage, the

-0“.—

working budget, and the experience and capabilities of the n W
student crews.

As pointed out by Cecile deBanke, the ideal staging of
shakespeare should be done on a reconstruction of the Elizabethan
theatre such as was done by the Illini Theatre Guild of the
University of Illinois which reproduced the Globe Theatre.17
The designer felt that this approach, though valid as an
educational venture in theatre history, was not appropriate in
a thesis project emphasizing original design. This approach
would also be impractical from the point of view of the working - 3
budget and size of the stage. The possibility of using a g
modified Elizabethan stage was also discounted since there is no ‘
secondary draw curtain on the Handy High School stage and moving
the act curtain into a usable position was deemed impractical.

One advantage to using the proscenium stage against the Shake-
spearean prototype is that the effect of the ending of the play

 

l7deBanke,‘gp.pg;3., p. 33.

 

 

$135.. . Lu”
. r..

 

 

1+5
can be greatly enhanced. Closing the curtain on a stirring
or pictorially exciting tableau leaves the audience with the
memory of that tableau. Margaret Webster states that to end
a play in the Shakespearean manner is:
"...an ineffective and clumsy
necessity...if the actors...have to
turn their backs on the audience and
troop sturdily off." 18
The equipment at Handy High School and budget for.2h§
Taming 9; 3h; Shggg also ruled out elaborate devices such as
revolving stages, large units mounted on wagons, and flying
scenery. The lack of offstage storage space was another factor
Which eliminated the possibility of wagon sets. The grid is
low and the counterweight system, which Operates from the fly
gallery, makes the distance the battens are adjustable very
slight. The maximum possible flying distance is approximately
six feet. Therefore, the possibility of flying scenery was
eliminated. ‘
In the production of Macbeth of the previous year,
a modified unit setting was employed with some success. The
indications in changing of locations of the scenes was accom-
plished in the center upstage area by movable units representing
walls, arches, towers, castellated borders, etc. The designer
felt that the timeless, monumental feeling which this type of
staging evoked was certainly not in keeping with the spirit of

The nging 9; the Shrew. Another deterring factor in this unit

 

18Webster, _gp. g_i_t_., p. 57.

 

h“)...
I

46
staging approach, was the difficulty encountered in finding
adequate and convenient stacking space for all the movable
scenery units, banquet tables, thrones, benches, etc. In ‘
Hacbeth, the traffic problem was acute.

As indicated in Part D of Chapter I, an adequate supply
of flats, platforms, and lighting equipment was at the disposal

.4 GM.

of the designer so there were no serious problems of limitation
in this regard. No practical advantage would be gained by
adding to an already adequate scenery stock; therefore, the ‘ . I
set was designed so as to call for only those sizes of flats I '
which already existed in the inventory. The designer was aware
that the director intended to build up the costume wardrobe,

so that a sizable amount of the total working budget would be
used for that purpose.

Since the Thespian Troupe was sponsoring the production
of ghglgggggg g; thg‘ghggg, there was no specific figure set
for an operating budget. Items deemed necessary to the show
were purchased on account and charged to the Thespian Troupe. ,
Since profits were based on box office receipts, there was no
guarantee that any of the money spent would ever be realized.
However, the financial success of ggcbeth indicated that a return
could be expected on the money. A statement of the financial
outcome of Th3 gggggg‘g£,§hg'§hggg follows. Gross receipts
are based on ticket sales for two evening performances and one
student matinee at which approximately fifteen hundred and
fifty people attended.

 

47
FINANCIAL STATEMENT FOR THE TAMING‘QE THE SHEEN

 

 

EXPENSES
Costumes ..... . ........... . 228.94
Hardware..... ....... ...... 19.74
Lumber....... ............. 17.62
Make-up..... ............. . 15.00
Muslin.... ............... . 33.22
Paper and Printing........ 18.40
Paint... .................. 44.22
Properties. .............. . 2.00
Others. ...... .. .......... . 91.22
TOTAL....... 470.36 470.36
GROSS INCOME:
TOTAL....... 863.96 863.96
NET PROFIT
Gross Income.. ........... . 863.96
Expenses... ...... . ....... . -470.36
NET......... 393.60 393.60
STAGE FUND: ( 5% of net)....... 19.68 19.68
ART CLUB: (25% of net)....... 98.40 98.40
THESPIAN recurs: .............. . 275.52 ' 275.52

The system of purchasing on account was an effective check on
unwise and extravagant spending.

The designer felt that the limitations to the complexity
of the staging due to the use of high school student crews were
not serious although some problems did exist. The designer has
had the experience that students will work well with a fair
amount of supervision. They need not be watched constantly but
z=heir work required periodic appraisals to ascertain whether

“ZZhey were progressing satisfactorily. In building the set, the

 

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construction problems cannot be exceedingly intricate, although

they can accomplish the regular building tasks such as
battening flats, rebuilding window flats to different dimensions, l

<n .eu,’
-- as

adding units to stairs, etc. The painting of the set, though i .
consuming most of the time expended in preparation for the
production, required less supervision than the building. ‘ 3 i

..

Painting was greatly facilitated by constant reference to the ;
detailed scale model which was an invaluable asset in painting

’4‘» -.....,
5‘

i

i
and mounting. Once the painters were made aware of the relation- 4 §.. [,8
ship of the various flats to the model, they were able to work 1 I f
with a minimum of supervision. The operation which required f
the most assistance on the part of the designer was mounting g
the set, and during this procedure the designer was continually ; %_
assisting. Students tend to work more slowly than adults and g ‘
on occasion their animal spirits tend to lead them off onto ,
unproductive tangents, but mostly they are serious minded and -
industrious. The managerial ability of the student is not f ?-f
markedly high when he is asked to supervise others in work, and g * i
he will function more effectively when assigned duties or i :*
responsibilities on an individual basis. During the pressure é ‘ 3}
prevailing backstage during a performance, the designer has i
found that occasionally checking with crew members responsible
for various aspects of the production helps to remind them of
their duties and gives them some morale support.

As already noted, the nucleus of the crews were drawn

from the Thespian Troupe which had had previous success doing

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49

Shakespeare in the production of ggcbet . A group of four
boys were regulars on the stage crew, having worked on the
shows for the past two years. These boys, experienced in
staging procedure, were primarily interested in scenery con-
struction and mounting and lighting. A small group of art
students had indicated an interest in painting settings, and
with the art club working on the production on properties and
costume designs, the designer felt there would be enough
interest aroused to have an adequate paint crew with sufficient
art background to do a capable Job on an involved paint scheme.

Since 2h: Taming g; thg‘ghggg has a large cast, the
designer anticipated that many of the interested drama people,
who normally would assist in some backstage capacity, would
have parts in the play. The training of completely new crews,
or the pressing into service uninterested students was deemed
inadvisable and impractical. A plan of production had to be
created to require only a skeleton crew backstage, and in some
manner use the actors for assignments which would normally fall
into the province of the stage hands or property crews. Another
advantage to this plan was that with the stage filled with all
the actors and the large set necessary to accommodate the
action there would be little room for a large backstage crew.
Additional space would have to be used to stack stage furniture
when not in use and for property tables. Since the director
requested the scene changes be made without closing the act
curtain, there was an advantage to having the actors, who were

in costume, make the necessary set changes. The show in

-..“

 

50
operation required only two stage hands who manipulated units
which could be handled out of the sight of the audience, and
aided in the running of the light board. For the onstage

shifts, seven actors were used.

- R‘#.

e wag -..‘A —

CHAPTER III
PART A: MEETING THE DEMANDS
or THE SCRIPT, AUTHOR,
DIRECTOR, AND STAGE

An analysis of the script indicated the major portion
of the play occurred in and around houses in Padua. The first
maJor decision made in regard to the staging was to consider
the stage area as a city square and group all the necessary
houses around this square. The advantage to this approach was
that all the necessary scenery (with the exception of the
houses' interiors, Petruchio's house and the road) would be
onstage at the same time. The designer then further decided
to build the houses requiring interior scenes with hinged walls
whiCh would open up in book form to reveal the interiors. This
device would be necessary in the case of Lucentio's and
Baptista's houses. Because lack of storage space made ad-
visable including as much of the set on the stage as possible,
the interior of Petruchio's house was hinged to the back of a
section representing a wall of the square. This placed
Petrudhio's house on the stage but in such a way as not to be
considered a part of the houses on the square.

At this point the designer had allotted stage space
for all scenes with the exception of the road. This scene was

Played in front of the act curtain which required the pulling

4...- 4..--

x..-

52
of the curtain. This procedure did not slow down the action
of the play as the road scene (Act IV. Scene V) followed
immediately on the heels of a scene in Petruchio's house
(Act IV, Scene IV). The idea of the road had been established
by having Katherine and Petruchio travel in front of the act
curtain during a transition scene between Act III, Scene II
and Act IV, Scene I. This is the first time in the play that
the action shifts away from Padua to Petruchio's house. The
drawing of the curtain for this transition gave a forty-five
second interim in which the most complicated scene change could
be effected by the actors and the stage hands. This change
involved switching from the interior of Baptista's house to the
interior of Petruchio's house.

All scene changes, with the exception of the one noted
above were done in full view of the audience. The servants
belonging to specific houses performed the necessary duties
for that house to change the scene. Baptista's servant opened
up the walls showing the interior of his house and brought out
stools needed in the scene. This servant and Biondello carried
on the wedding cake for Katherine and Petruchio's wedding.
Grumio, the cook, and the two servants of Petruchio changed the
scenery and furniture in his house. This same plan was followed
throughout the production and served the following purposes:
the changes could be made in a minimum of time, holding the
interest of the audience which normally would be lost if scene

Changes occurred behind the act curtain; the curtain would not

._—— -. 4-..-

A..-

"'M"--r‘-‘~ av

1,5“ m»

53

have to be drawn thereby interrupting the flow of the pro-
duction; the servants doing the changes were characters in the
show, had appropriate costumes and the audience could consider
the changes as an integral portion of the show; scene changes
would not have to depend on complicated stage machinery im-
practical in this high school production situation; the scene i
changes, in their rapid sequence, would maintain the comic
spirit by fast tempo; and, the utilization of actors for these
assignments decreased the number of crew members needed
backstage.

The general location of the acting areas consisted of
having Baptista‘s house occupy most of the stage left area
with the interior wall, when swung out, pulling the action
slightly left of center. (See Figure 3 for indications of the
location of these areas.) Hortensio's house was upstage center. ;
Lucentio's was in midstage and right of center, and when the
interior was swung open, the scene was pulled downstage right.
The wall in front of Petruchio's house occupied the downstage i
right area. The interior of Petruchio's house, when in use,
occupied the downstage right area and this unit was swung almost 3
completely offstage when the interior of Lucentio'e house was
used. Because as many scenes occur in Baptista's house as in
Petruchio's and Lucentio's combined, there was an equal
balance of scenes on both stage left and stage right.

To add further variety to the acting areas, a series

of platforms was arranged along the back of the set to break .

 

 

 

 

 

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up the acting area into levels with a long step section
leading up to it.- This platform area was placed in back of
the units which swung so as not to interfere with their mani-
pulation, however Hortensio's house was placed behind the
platforms for the sake of variety as no swinging problem was
involved.

To help establish the character of Baptists, his house
was built large and imposing and was the biggest single unit
on the stage. The swinging wall of his house included two
hinged sections as compared with only one for the houses of
Petruchio and Lucentio, and was painted more crnately than the
others. The interior scenes were in a relatively strong center
position, and the effect of establishing a feeling of the
interior was heightened by lowering a chandelier into the area
during these scenes.

The unit which represented Lucentic's house was the
second largest on the stage, as he is a major character in the
play, wealthy, and a good deal of action occurred in relation
to his house. The entrance was used extensively and a practical
window was needed for the Pedant. This unit was designed large
enough to accommodate the banquet scene at the end of the play.
The swinging wall unit was the only one which was the entire
height of the standard flats (fourteen feet). The designer
felt that this height would help establish an impressive ending
and at the same time have enough pictorial strength to hold the

wedding feast.

 

 

56

The unit which comprised Petruchio's house had three
functions. In the closed position it served as a wall bounding
one side of the village square. In this position there was no
indication that it contained Petruchio's house. This arrange-
ment gave Petruchio's house a feeling of separateness which
was necessary as it was not supposed to exist in close physical
proximity to the others. In the open position it revealed a
squarish appearance of basic strength consistent with the
character of Petruchio. The entrance was also in harmony with
this plan as it was higher than the average entrance and the
ratio of the width to the height was considerably greater than
the average. And this unit was pulled back to form a backing
for Luoentio's house when this interior was needed.

The character of Hortensio was established primarily
with decor and color. This house did not need to be practical
in any way with the exception of the door. The decision as to
its size and location was determined by the fact that the
swinging units of the other houses would take up a large portion
of the stage space, therefore this house was wade smaller than
the others and placed upstage center where it would not impede
the mechanics of the others.

The problem of the entrances and exits was handled in
the following manner. When the entire stage was used as the
square in Padua, entrances could be made from six places; the
door to Baptista's house, the door to Hortensio‘s house, the

door to Lucentio's house, upstage left and right on the platforms,

57
and stage right between Lucentio's house and the wall of the
square. When the interior of Baptista's house was used,
entrances could be made from the interior door exposed when
the wall was opened and from the steps of the platform. When
the interior of Petruchio's house was used, entrances could
be made from the interior door exposed by the swinging wall,
from the steps of the platform, and from behind the area between
the back wall of Petruchio's house and the front of Lucentio's
house. Entrances for the road scenes were made on stage left
and right between the proscenium and the act curtain. When the
interior of Lucentio‘s house was used, entrances could be made
from the two doors exposed in swinging the wall unit out, and
from the steps of the platform.

After the areas were assigned to the individual houses
and their relative sizes roughly estimated, their actual
physical arrangement was then determined in accordance with the
plan to use standard flats.

An effort to capture the feeling of the period was made
by means of the decor. The architectural flavor and decorative
motifs were derived from buildings of the Italian Renaissance
to convey the flavor of its physical appearance. For Baptista's

house, three motifs were used as indicated:

The roof design from the Villa

Rotonda, near Venice. 1

 

1David 14. Robb and J.J. Garrison, £1: y; e Western
EEEEE- (New York: Harper a Brothers Publishers, 1? 2), p. 222.

 

 

 

‘11.!!! ..1, r;
ilr r ,

 

 

The window design from the
Vendramini Palace, Venice.

 

 

The running border design from
the cathedral Santa Maria del
Flore, Florence.

 

 

 

 

 

The decorative motifs used in Hortensic's house were derived

from the following sources:

The repeat border of arched forms
from the interior of the Pazzi

Chapel in Florence. b

The dome design of the roof
from St. Peter's Cathedral in
Rome. 5

 

 

2Gllrdner, _p. 31.3., p. M3.

31bid., p. #39.
“Robb and Garrison, 92. git., p. 188.

5Gardner, 92. £33., p. #61.

 

5'9

Lueentio's house was decorated with motifs from the following

bui ldings : O

The fenestration arrangement and
shapes from the hediciefiiocardi
Palace in Florence. The shutter 6
effect on the windows taken from
the Rucellai Palace facade in

Florence. 7 ’—' ‘4‘

 

The decorative clover design from
the Ca d'Oro in Venice. 8

 

the following source:

The arrangement of pillars and
cloverleaf type arches from the
Pulpit in the Baptistry of the
Cathedral of Pisa.

 

Standing within this arch was a stylized painted statue whose
source was the sculpture of St. George by DonatelloéLO A

61bid., p. #38.
7Rob]: and Garrison, gp. _c_i_t_., p. 191}.

8Gardner, _p. 22:3” p. M2.
9Ibid., p. #32.
1°1bid., p. M7.

 

i

’—

60’
practical statue was included as part of the set forming the
center of interest of the square and was located in the upstage
center position. This status was not derived from any definite
source but stylized in the same spirit as the painted one. The
practice of placing sculptural pieces in public places was
common in this period as exemplified in the picture of the
Capitoline Hill in Rome.11 The architectural details used were
not utilized in their pure original form but were rather
adapted and integrated in the stylized approach to meet the
needs of decorating the various house units. The designer
attempted in this manner to help in establishing the comic effect
by this exaggerated stylization demanded by the director.

The designer was also able to carry out the rapid pace
required in the show with the aid of the lighting. The lighting
was so designed as to shift the attention of the audience from
one acting area to the next resulting in a fluidity of move-
ment which was desirable. The placement of the illumination
aided the designer to set the limitations of the acting areas
instead of having to enclose them on all sides with set walls.
For instance, the room in Petruchio's house was composed of
only two sides. The third wall existed in the minds of the
audience only because the actors did not step out of the lighted
area. In only one instance was it necessary to enlarge the
acting area during a scene and this was the arrival of the

wedding party and guests in Act III, Scene II following the

 

1LRobb and Garrison, 92. cit., p. 216.

 

 

._._-

61

marriage of Katherine and Petruchio. This scene occurred in
Baptista's house and additional lights had to be slowly brought
up to provide enough lighted area to make all the characters
in the scene visible.

The designer attempted to maintain a gay mood by using
a large amount of light, providing more than adequate amounts
for visibility, and also bringing out the colors in the setting
and costumes to good advantage. This high keyed lighting was
in direct contrast to Macbeth in which Just enough illumination
was provided to allow the audience to see, thereby evoking a
murky, gloomy, and sinister feeling. Each major acting area
was cross spotted with #17 Light Blue Lavender gelatin and its
complement #57 Light Amber. #1? Light Blue Lavender is
described in the Brigham Gelatin Cataloguelz as being the most
useful for acting areas, heightening color values, requiring
less pronounced make-up, and requiring balancing by its warm
complementary. #57 Light Amber. These gay tints went well with
the spirit of the comedy. The effect of these light gelatins
on the colors of the set did not destroy any of their warmth
and vibrancy because they did not have high pigmentation in
their composition.

Color keying the entire production in terms of set,
costumes and properties was done in an attempt to achieve

unification of the show. Baptista's house was predominantly

12Theodore Fuchs, comp. Pamphlet, Colored Gelatin For
The Theatre - §chool - And Community Playhouse. (Randolph,
‘Vermont: Brigham Gelatin Company, 1950), p. 17.

62

green and turquoise (blue-green) with an interior of tan.
Baptista wore a tunic of dark blue-green; Bianca wore costumes
of olive green and dark green changing to another color, pink,
only for her wedding; Katherine wore costumes of an intense
turquoise changing into a white wedding gown, and at the end
of the play wore a pink and dark red dress as a sign of her
capitulation to Petruchio. Petruchio were red throughout the
play which contrasted to Katherine's turquoise, and at the end
of the play, wore a red and gold printed tunic harmonious to
Katherine's costume. The servant of Baptista wore a yellow
tunic blending with the tan of the interior. All props were
similarly worked out using colors already used in the set.

Petruchio's man, Grumio, had a tunic of variegated
stripes, one of which was a red to echo the red of Petruchio.
Petruchio's house was predominantly yellow (it was the only
house painted a primary color and was chosen to indicate the
basic strength of Petruchio) with brown trim, therefore his house
servants, Natalia, Josepha, and the Cook were dressed in brown
and yellow outfits.

Lucentio wore costumes of orange to harmonize with the
orange house and his man Tranio wore gray and black to provide
an effective contrast. This orange also contrasted to the
other'suitcrs of Bianca who'wore purple. Lucentio's other
servant, Biondello,,wore a gaudily striped tunic, one stripe of

which was a red-orange.

63

Hortensio wore purple as he lived in a purple house
but during the sequences in which he was disguised, he wore
an unobtrusive eggshell yellow Just as Lucentio wore gray for
the same purpose. Gremio, the other suitor to Bianca wore a
purple and gold print tunic. The widow, who eventually married
Hortensio, wore a lavender gown and hat to blend with the
purple and gold of Hortensio.

Yincentio, the real father of Lucentio, wore a tunic
of silver and blue print, which formed a contrast with the dark
red-orange of the Pedant who pretended to be Lucentio's father.
The officer wore a gray and green outfit which did not establish
him in any way in color with the other characters. The dress-
maker and the milliner wore shades of blue and blue-gray to set
them off against the yellow background of Petruchio's house.
The three ladies, whose main duty was to decorate the stage
during the crowd scenes, were garbed in off shades such as lime
green, burnt orange, and watermelon red.

With the use of color in the setting, costumes and
properties, the designer attempted to: establish relationships
of harmony or opposition between characters, relate the costume
colors to the colors of the set houses to which the characters
wearing these costumes belong, and create an evenly balanced
color composition by repeating colors throughout the stage
picture, especially in small decorative detail and spattering.
This balance was also achieved by placing two main units on

one side of the stage and two main units on the other with

 

 

 

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6n

the large statue forming a center of interest at the center
of the stage.

Variety was achieved by different treatment of the
shapes of the roofs and layout of the houses. Each wall unit
that moved was a different size and moved in different
directions or combinations. The treatment of doors was varied
by haying some of them open archways, some covered with heavy
drapes, and one with a practical swinging door. The low mass
of the platforms, steps and balustrades contrasted with the
heighth of the house units. Additional variety in acting levels
was achieved by placing the practical window for the Pedant
on the second story level.

A combination of straight and curved lines was used in
the decorative treatment of each house thereby distributing
both types of line throughout the design. Repetition of the
swag in Baptista's house and the interior of Petruchio's unified
the effect on the stage left with that on stage right.

All the units designed could be built from stock flats
thereby necessitating no flat construction. To achieve some
of the shapes desired, upson board cutouts were applied to
alter the contour of the flats or the shape of window openings
was changed by the same manner. The complexity of the design
in terms of building and mounting was not beyond the capa-
bilities of high school students (see Chapter IV, Parts A and
B for a further discussion of this) as the basic design was
kept within the technical range of high school crews and no

construction or mounting problem arose which they could not

65'
satisfactorily overcome. This statement is substantiated by
the fact that the original design was not altered due to
technical considerations involving complexity of design. The
only alteration made was in location and amount of backing
required which is a consideration of sight lines.

The setting as finally designed was a multiple unit
set capable of: containing the action of the play; moving along
swiftly; being built and run by high school crews; staying
within a reasonable budget; reflecting the mood of the play;
and using flats, platforms, and lighting equipment already on
hand. Although the set was of the unit variety, it did not
approach the non-objectivity characteristic of this type, a
quality which is too timeless and monumental for the spirit of

The Taming.g£ the Shrew.

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.PART C: THE MODEL: ITS
PURPOSE AND USE

The purpose of the model was to provide the designer
with a tangible visualization of what his set will look like
when built. The simpler the set design, the less use the
designer has for a model. Therefore they may range from
extremely rough approximations to highly finished scale models
complete to every detail and even indicating lighting effects.

In the production of 133 Taming 2; Egg ghggg, the
designer was very dependent on the use of the model. After the
floor plan and elevations were drawn, the model was built to
exact scale and all movable walls of the model were hinged to
reproduce accurately the movement of the actual set. This
procedure enabled the designer to see if the mechanics of design
would really work. Due to working this way with the model the
complete design of Petruchio's house unit was altered as it
was found that the original design was clumsy to manipulate and
did not lend itself to a good paint scheme. Spatial relation-
ships were also checked, and the designer found that the rear
wall of Baptista's house would have to be angled to provide a
better sight line into the interior for the audience on the
right side of the auditorium. The masking flat intended to be
used between Baptista's and Lucentio's house would not be
needed as the rear canvas drop extended far enough off stage

left to function as its own masking. The masking flat was found

 

 

 

 

77
to be needed behind Petruchio's house unit because not enough

masking had been designated for this purpose. These mechanical
considerations could be easily worked out in terms of the
model, and any changes required were done simply and quickly.
If the designer had not made the use of the model and had found
out the inconsistencies in his design when actually building or
mounting the set, a great deal of time, labor, and money would
have had to be expended to remedy the errors. This situation
would be extremely detrimental to a high school production
where the budget is not limitless and time is at a premium.

The designer valued the model for another important
reason, and this reason was in relation to painting the setting.
The method of indicating the paint scheme commonly used is to
make up necessary painter's elevations which indicate method
of painting typical flats. The designer felt that, due to the
nature of the design with its diverse paint schemes on each
house, a separate painters elevation would.have to be made for
each flat. Therefore the method of indicating painting plans
directly on the model was elected. The model was then painted
with great fidelity as to detail and with colors indicated as
they were to appear on the actual set. Spattering was also
included as was the sponging texture to be applied to the
ltylized trees in the background. In the actual painting of the
set, the model was continually referred to for color, and
location and size of decor. It was built sturdily enough to

Withstand months of constant handling.

 

 

 

78

The director used the model to acquaint the members
of the cast with the actual appearance and layout of the set.
This orientation in relation to the set was valuable to the
actors as they could block out their action with accuracy and
be well aware as to where the entrances were located. Confusion
was eliminated in this manner, and student actors were not
completely thrown off in their timing and business when the
actual set was mounted for their use. Another aid to the
director in indicating to the actors the layout of the set was
the device the designer had adopted of painting the outline of
the set on the floor of the stage as soon as rehearsals began.
Tempera paint was used which was durable enough to remain
visible during the rehearsals and mounting of the show and at
the same time, being water soluble, could be mopped off the

stage after the performance.

 

78

The director used the model to acquaint the members
of the cast with the actual appearance and layout of the set.
This orientation in relation to the set was valuable to the
actors as they could block out their action with accuracy and
be well aware as to where the entrances were located. Confusion
was eliminated in this manner, and student actors were not
completely thrown off in their timing and business when the
actual set was mounted for their use. Another aid to the
director in indicating to the actors the layout of the set was
the device the designer had adopted of painting the outline of
the set on the floor of the stage as soon as rehearsals began.
Tempera paint was used which was durable enough to remain
visible during the rehearsals and mounting of the show and at
the same time, being water soluble, could be mopped off the

stage after the performance.

79
FIGURE 14. Color photograph of model showing entire set.

 

80

FIGURE 15. Color photograph of model showing Petruchio's
house unit in open position.

 

PART D: LIGHT PLOTS

 

 

 

 

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CHAPTER IV
PART A: BUILDING THE SHOW
TECHNICAL ANALYSIS OF THE PROBLEMS INVOLVED

To keep the design of the production within the
capabilities or high school crews, the designer had to keep
complex construction problems to a minimum. The desire of the
designer to develop an involved plan of production was counter-
acted by the fact that many ideas considered were not within
the students' range of accomplishment. The many demands or
the script had to be met in simple practical terms rather than
with complex ones for these reasons; the limit of time
available for preparation, the consideration of the budget, and
the experience and skill or the students. Since there were so
many items involved in the final production, each one had to
be broken down to a simple solution to insure foolproof
operation of the production.

The designer had to plan the construction of the units
or the set in such a way as to use the skills already developed
by the student help. Since there were no new flats being con-
structed as mentioned previously, building problems were
mostly a matter of assembly. The major types of building in-
eluded: addition of upson board contours to hinged unit of
Baptista's house, the end of Lucentio's house, the two ends of

Hortensio's house, and the end or the long section or the

89
balustrade; changing of shape of doors in Baptista's and
Hortensio‘s houses, and the window shape in Lucentio's house
with upson board; building of two special forms for the small
balustrade section, and the practical window in Lucentio's
house of upson board with a wooden framework backing; adding
two triangular step sections to each end of the six foot stair
section; and battening together the facade of Hortensio's house,
the swinging facade of Luoentio's house, the interior main wall
of Lucentio's house, and the interior wall of Petruchio's house.

None of the problems involved required knowledge and
skills the stage crew had not already developed in other
productions with the exception of the triangular step units.
These did not prove to be difficult as the units were fitted to
the stair unit itself and consumed the time of two tenth grade
boys for a period of two hours and a half. The designer had
then limited the set to the capabilities of high school students
while at the same time meeting all necessary requirements con-
cerning the script, author and director.

The properties, which were made by the students in the
advanced art class, were constructed using materials already
available in the art room. The only purchase made was two
brooms for the hobby horses. Students making the properties
used skills and materials they had become familiar with during
the course of their art training. The wedding cake was an
upson board and cardboard construction; the 'For Rent' sign

developed from a student's knowledge of lettering; the chandelier

 

 

 

 

 

90
was made of cardboard, cord, and wire and developed from the
student's experience in making mobiles; the decorative flags
were simply crayon designs applied directly to cloth; the
floral centerpiece was made of wire and colored paper flowers;
and the two pieces of meat, the broken lute, and the practical
statue were made with papier—mache. The statue was the most
complicated item constructed. The base was made from the
bottom portion of an old chair inverted in which a rough wooden
framework was inserted approximating the shape of the statue.
Heavy wire was used to form the exact shape and stove wire
then reinforced and refined the shape. Over this framework
papier-mache stripping was applied and allowed to dry forming a
thin, light, and very tough shell. To this shell, papier-mache
pulp was added where needed to complete the shape and model the
features. When this was thoroughly dry, the statue was painted
with the same paint used on the stage set to insure a harmonious

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TABLE II.

UNIT OR FLE!
FLJT A

FLAT
FLAT
FLAT
FLAT

FLAT
FLJT
FLAT
FIJI I

‘4 II a: H1 II :3 <3 In

CONSTRUCTION L

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SIZE

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LIST OF MAJOR UNITS REQUIRED

Door

Door

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Build
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Build
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Stock
Stock
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TABLE II. (CONT 'D)

98

 

FLAT U3 3'—O'x1’+'-0" Stock

FLAT V 6‘-9'xB'-0' Stock

FLAT W 2'-lO"x 6'-9" Stock

PLUG X 2'-2'12'é5” Stock.

FLAT :1 1L0~x14uov Stock

FLAT 12 2'-6~x8'-'-o- Stock

FLAT Y3 3'«--O"xllH--O'I Stock

FLAT Z 3'-O'IJJ+'-O" Stock

FLAT AA LU—O'xllH-O“ Stock

FLAT BB 6‘-O"xll+'-O' Stock

FLAT CC 6'-9"18'-0“ Stock

DDl l'xIZ'xlOL-O' Board Purchase

FLAT DD2 wanna-0' Stock

DD3 1":12'x10L-0' Board Purchase

DD“ l'xIO'IIOL-O' Board Purchase \\\_‘ \
\ .

FLAT EE 2'-6'xlO'-O' Stock :2

PLATFORMS AND STEPS 9 ; \BF“?

STEP 1 and 10 8'110'x3L-O" Stock A: \

PLATFORM 2, 7, 8 8'xB'-O'x6'-O' Stock ‘

PLATFORM 3 1'4-Mx3'-O"x6'-0“ Stock

STEPS LI and. 6 l'-Mxl'-6'xl'-6' Build

STEP 5 1‘—4'x1‘-6'x6'-0" Stock

PLATFORM 9 8":3'-O"x6'-0' Stock

PLATFORM 11 2'—0'x3 '-O'16 ‘-0" Stock

 

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PLEASE NOTE

There are a number of color chips missing
from page 99.

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i
TABLE III.
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PART B: MOUNTING THE SHOW

Although building the set involved few new problems
for the students, the mounting was much more complicated.
The principle of using hinged units was explored to some extent
in ggcbeth, but the method developed for.ghg Taming 2; Egg
gaggg was much more complex. A method had to be employed which
would allow the hinged units to swing smoothly and easily
inasmuch as this operation was done in view of the audience.
For the walls of Baptista's and Petruchio's houses which were
relatively short and light, the hinging was so arranged to have
the edge of the flat which described the arc two inches above
the floor of the stage. This clearance prevented the flat from
scraping on the floor and, therefore, its manipulation required
very little manual labor. The wall of Lucentio's house was
more of a problem because it was taller and wider than the
other two. The weight of this swinging unit caused considerable
friction of the bottom of the flats and the floor. Two small
ball bearing casters were inserted vertically into the bottom
of the unit to ease the friction and provide a roller for it.

Other mounting problems encountered were of a routine
nature and included: hinging the swinging units in proper
position; raising the eight inch platforms to the required
sixteen inch height; rigging the chandelier in Baptista's house
with cord and two small pulleys and attaching it to a batten;

hanging the door and practical shutter in Lucentio's house;

102
hanging door coverings in Petruchio's and Hortensio's houses;
installing the special stage brace arrangement behing Petruchio's
house; blocking the flats to the floor; putting up flats; and
applying dutchmen (“The canvas strip used to cover the crack
between two hinged flats.‘)1 at the proper places.

The set was actually mounted in two separate work
sessions on succeeding Saturdays. Prior to the beginning of
rehearsals a scaled floor plan of the set had been painted
directly on the stage floor as an aid to the director. This
plan was also used as a guide to the crew as to the exact
location of units. TUo weeks before the production date all
platforms, steps, balustrades and the status were mounted. These
items were not of a nature to hinder the band classes during
the week, and enabled the crew to accomplish part of the
mounting ahead of time. The customary procedure is to put up
the entire setting on the Saturday before the week of dress
rehearsals.and performance. .A week after the preliminary work
was done, the crews completed the mounting of all flats, hinged
sections, backings, drapes, and dutchmen. During this time
most of the light equipment was mounted and wired into the
switchboard. The following Monday was the beginning of the week
of performance and marked the beginning of the time when work
was finished under extreme pressure. On Monday and Tuesday of

that week between the end of school at four in the afternoon

A

1John Gassner,Ԥ39ducing the Pl_y. (New York: The
Dryden Press, l9hl), p. 723.

103
and seven o'clock in the evening when dress rehearsals
commenced, all last minute details had to be completed. The
lighting installations were finished, the light levels deter-
mined, spotlights focused and gelatins inserted; the paint
crews touched up the dutchmen that had been glued on the
previous Saturday, did any last minute retouching and completed
the spattering; the borders and drops were trimmed and sight
lines checked on spotlights hanging in the teaser position;
sight lines were also checked on all backings and the backdrop;
and hinges, pulleys, hooks, catches, and handles were checked
to determine their workability. This routine occurs for every
show, therefore the procedure was not new to the students.
Th3 Taming g; thg'ghggg was different only in that there were
more items to consider because of the larger scope of the
production. This fact accounted for using two separate days
for mounting the set.

All spotlights, showcase lights, and flood light
circuits needed were wired into the dimmers on the switchboard.
This was possible by disconnecting the permanent wiring in
these circuits which control the lamps in the border strips and
footlights. As the action of the play moved rapidly from one
area to the next, the designer felt that control of the lighting
would best be accomplished with circuits containing spotlights.
The movement from one area to the next could be done more
easily with the specific illumination of the spotlights rather
than the general illumination received from.the border strips

and footlights.

.-

10b

The baby spotlights and some of the showcase lights
were mounted on battens, the remainder of the showcase lights
were mounted on the set proper and used as backing illumination.
The floodlights were mounted on pipe stands and placed on either
side of Hortensio's house and behind Petruchio's house so their

2

light was thrown on the sky backing areas. The mounting and

wiring of the light scheme was accomplished in much the same

manner as was done for other shows and was handled by the

student light crew.

2Note: For a detailed analysis of light placement
refer to the light plots which are in Part D of Chapter III.

PART C: RUNNING THE SHOW

One of the major problems involved in running'ghg
Taming gg‘ghg'ghggg was to find enough time to rehearse the
scene changes, the property and light plot, and the light cues.
Fortunately the director was of the opinion that the technical
aspects of the play should receive prime consideration during
the week of the show. Rehearsals on the four days preceding
the opening night stressed lights, properties and scene changes.
Those actors serving as stage hands and the back stage crew
were rehearsed in their duties and responsibilities with the
same concentration that the actors had been during the previous
weeks of rehearsal. This procedure was followed to insure as
competent a handling of the technical aspects as was the acting.

During the rehearsals immediately prior to the
production, the Iain consideration was in the coordinating of
the technical elements of the production. The furniture and
most of the props had been available for rehearsals well in
advance of the last week so that those actors responsible for
them had an idea of when and where they were to be used. The
first dress rehearsal presented the problem of working out the
sequence and timing between the movement of the scenery and
the bringing on of the properties and furniture. For instance
in Baptista's house the chandelier had to be lowered after the
wall unit was swung out or else it would be pushed behind the

swinging unit. The chandelier that had been planned for

"'.‘u s

'7'—‘- ""—"ih-~ _

106
Lucentio‘s house had to be discarded as the swinging unit
was fourteen feet high and there was not enough clearance to
the batten from which it had to be rigged. Constant checking
of light levels had to be made to provide adequate illumination
for the acting areas and proper balance between the different
colored light. The light plot had to be carefully checked to
make certain no backing lights were left on when areas were
dimmed out. This would have caused light spills which are
distracting to the audience and a sign of poor planning. Light
spill from spotlights in the teaser position was checked and
where needed metal shields were placed in the gelatin frames to
prevent the light from hitting the wrong areas. Thw two stage
hands had the most difficult assignment when the final wedding
scene was set. While one pulled back the unit of Petruchio's
house, the other moved a flood light out of the path of the
unit and unfastened the stage brace. As sodn as this operation
was over, they had light cues to reduce light levels in all
places except stage right. The light cues in general worked
slowly during the first rehearsal as the operator had to work
out the sequence of the raising or lowering of the lights in
each one and become familiar with the layout of the board.
Actors had to plan to be at the proper entrance with the pro-
perty or piece of furniture they were responsible for on cue.
Since in some scenes the number of articles needed onstage was
great, the actors had to be assigned specific places of entry
onto the acting area to avoid congestion in any one entrance.

Also with the initial use of the set, a problem arose involving

107
the use of the long table and bench needed in the final scene.
The door arrangement in this scene made the maneuverability
of these pieces awkward because of their length, therefore the
solution lay in bringing this furniture into the scene from
the unobstructed entrance from the platforms.

The second and third nights of dress rehearsal were
spent in going over these technical changes until the timing
worked. The changes had to be integrated into the pacing of
the whole show and the director and designer worked toward that
end. The designer made certain each actor knew of his specific
assignment and the director worked out the action involved in
carrying out these assignments so that they were done in
character thereby maintaining the effect that the changes were
part of the action of the show. The desired effect wanted was
to have a fast paced production that ran smoothly.

An estimate as to the time the show ran was two hours,
including acting and scene changing time. This does not include
the two intermissions during which the orchestra played. These
intermissions were each ten minutes in length. Student opinion
concerning the running of the show included: '[Ehe se§7 was
unique and space and time saving, also.‘ '...it was very well
made so it could be changed easily.“ “...[Ij7 was planned so
that it only took a short while to change scenes." "I liked the

way they only pulled the curtain twice."3 These reactions seem

 

3Quotations taken from play reviews written by students
of Handy High School for an English class assignment.

‘ a..-

108
to indicate that the student audience appreciated the effect
of the fast moving show for which the designer had been
striving.

. During the course of the running of the show there were
only two stagehands to work the light board and manipulate
changes which could be done out of view of the audience. The
actors who had to use or bring on a certain property or piece
of furniture were responsible for having that item in the proper
place in readiness. (See Table VII for the property and
furniture plots and strike sheets.) These responsibilities were
assigned to the characters who were servants in the play. Their
parts were not heavy enough to demand all their time and they
were logical characters to do the moving and scene changing
from the standpoint of the audience. Characters to whom these
duties were assigned were Servant to Baptista, Tranio, Biondello,
Grumio, the Cook, Natalia, and Josepha.

To more fully illustrate this use of actors as stage-
hands, one of the maJor scene changes will be discussed. This
change occurred between Scenes I and II in Act V and the
discussion is of the setting up of the wedding scene of Bianca
and Lucentio. At the end of the first scene, only Katherine and
Petruchio were on the stage, which was set up for the entire
stage, and they exited into Lucentio's house presumably to
attend the wedding. When they left the stage, a stage hand
immediately pulled back Petruchio's house unit to pull it out
of the way and to form a backing for the interior of Lucentio's

house. As this was being done, Grumio swung open this unit in

-' ‘-w‘-._ .-
“.9

C‘
IMAM»

109

the proper place and then unhooked the swinging wall of
Lucentio's house. As soon as the wall swung open, Tranio and
the Servant to Baptista brought on the long table and bench
and placed it into position which had been marked on the floor
of the stage with paint. Meanwhile Grumic and Biondello had
each brought out a stool and positioned it, then the Servant
and Tranio reappeared each bearing a stool. .After all the
necessary furniture was onstage and Biondello had brought on the
floral centerpiece, the actors took their cue and entered the
set to start the scene. As the guests were seating themselves,
Tranio and Biondello brought out the goblets and pitchers and
pantomimed serving the guests wine. While the furniture was
being brought on, the light cues were being followed to adjust
the lighting to the scene, thus completing the change.

There were no sound cues required backstage, therefore
a sound crew was unnecessary. The first, second, and third
ladies, who were extras in the cast, helped the principals,
Katherine and Bianca, make their costume changes. The boys could
manage their changes themselves as in most cases only a change
of tunic was necessary, thereby eliminating the need of any
wardrobe personnel backstage. All of these devices were employed
to clear the limited backstage area for the cast, the minimum
crew, and furniture storage space when it was not used onstage.
All properties were placed on the music cases on either side of
the stage to keep them in a safe place when not in use and to

provide a definite location for them.

110

The running of the light plot required only one of the
stage hands, with only an occasional assist from the other
member of the crew. Since the proper handling of the lighting
was essential to the success of the show, the designer kept
close watch over that phase of the production during performances.

flake-up was done in the woodshop across the hall from
the stage entrance as there was insufficient room to apply
make-up to a large cast in the dressing room below the stage.
One person on the committee was assigned to each of the members
of the cast and after the character was made up the duty of
the person on the committee ended. The chairman of the
committee was responsible for cleaning the room after all make-
up was ccmpleted. The director was in charge of this committee
although the designer checked the finished make-ups and helped
with some of them. after each committee member was through with
his assignment, he was not allowed to wander around backstage
there he had no duties and would only be in the way.

Prior to each performance, the two stage hands were
responsible for checking: trim on borders and teaser spots;
movable units for proper operation; all lights for proper
position and focus; and all circuits for proper operation. All ,
phases of the show had to be in position or in working order J

 

to avoid last minute confusion and errors. i
During the perfommances the designer noticed that many
of the difficulties that he had anticipated during the per-

formance had been solved. There was a minimum of confusion

 

lll

backstage because the performers and the stage hands knew
definitely what their duties were. Enough backstage space was
available for the properties, furniture and movement of the
actors without any crowding. This well organised backstage
situation enabled the actors to concentrate on the performance
and not have to worry with the mechanics of the production. Of
course, as in all theatrical productions, there was the usual
nervous tension backstage before the show began. The designer
was aware that the audience was reacting favorably to the plan
of production as there were audible expressions of surprise and
delight during the course of the manipulation of the scenery.
Instances when this occurred include: the unexpected appearance
of the Pedant sticking his head out of the window, the
travelling scenes in which Katherine and Petruchio rode on
hobby horses, and the droll manner in which Grumio moved the
walls. The audience was aware of the “versatility of playing
areas and the bright color scheme which seemed to add life to
the whole production.'u

Scene changes went as planned throughout the running
of the show and became faster and smoother with each performance.
On opening night during the complex change from the interior I
of Baptista's house to the interior of Petruchio's house, the
Servant to Baptista neglected to close the wall unit in

Baptista's house. However, he was able to correct this oversight

 

“Quotation taken from letter written by Mrs. E.D.
Ponder of Bay City, Michigan which is included in the Appendix.

 

112

during the course of the following scene when action and

light was focused on Petruchio's house and the area around

Baptista's house was in darkness. Occurrences of this nature

are not uncommon for high school productions and this particular

incident was not serious enough to harm the action or the

continuity of the play. No oversights on the part of the actors

or the crews occurred after the first night of performance.

113
TABLE IV; SCENE SHIFT PLOT AND ASSIGNMENT SEEET

 

scm “norms PERFORMED g;
PROLOGUE: sons

ACT I SCENE 1: NONE
ACT I SCENE 23 NONE
ACT II SCENE 1: OPEN HALL OF BAPTISTA'S Servant

EOUSE
LOVER CIANDELIER Stagehand #2
ACT III SCENE 1: NO CHANGE
ACT III SCENE 2: RAISE CHANDELIER Stagehand #2
CLOSE HALL OF BAPTISTA'S Servant
HOUSE
ACT IV SCENE 1: OPEN HALL OF PETRUCEIO'S Grumio
HOUSE
CLOSE WALL OF PETRUCEIO'S Grumlo
HOUSE

ACT IV SCENE 2: NONE
ACT IV SCENE 3: OPEN HALL OF PETRUCEIO'S Grumio

HOUSE
CLOSE HALL OF PETRDCEIO'S Grumio
HOUSE
ACT IV SCENE #: NONE
ACT IV SCENE 5: NONE
ACT V SCENE 1: NONE
ACT V SCENE 2: PULL OUT FLOODLIGHT X Stagehand.#2
UNFASTEN STAGE BRACE ltagehand.#l
REMOVE STAGE BRACE ltagehand.#2
PULL BACK PETRUCHIO'I Stagehand #1
HOUSE UNIT
OPEN HALL OF PETRUCHIO'S Grumio
HOUSE

OPEN HALL OF LUCENTIO'S Grumio
HOUSE

 

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115

TABLE V. COLORED GELATIN PLOT

GELATIN
#u PINK
#1? LIGHT BLUE LAVENDER

#27 err LIGHT BLUE
#32 LIGsT BLUE

#46 BLUE—GREEN

#57 LIGHT AMBER

#59 AMBER
#6u LIGHT RED

LIGHT UNIT

Baptista's Interior Backing
Hortensio's Interior Backing
#2, 3, and 5 Baby Spotlights
#2 and h Ellipsoidal Spotlights
Floodlights X, Y, and Z
Baptista's Exterior Backing
Baptista's Chandelier

#1, 4, and 6 Baby Spotlights
#l and 3 Ellipsoidal Spotlights

Lueentio'e Interior Backing

Statue

TABLE VI.

SCENE
PROLOGUE:
ACT I SCENE 1:

ACT I SCENE 2:
ACT II SCENE 1:

ACT III SCENE 1:

ACT III SCENE 2:

TRAVEL INTERIM:

“7 IV SCENE 1:

‘CT IV SCENE 2:

ASSIGNMENT
NONE

'FOR RENT' SIGN
STRIKE 'FOR.RENT' SIGN

NONE

LUTE

BOOKS

STRIKE LUTE

STRIKE BOOKS
BROKEN LUTE
STRIKE BROKEN LUTE
CAPE

HAT

STRIKE CAPE
STRIKE HAT

BOOKS

LUTE

GAMUT (Scroll)
STRIKE BOOKS
STRIKE LUTE
STRIKE GAMUT

WEDDING CAKE

DAGGER
STRIKE DAGGER
STRIKE WEDDING CAKE

2 HOBBY HORSES
STRIKE 2 HOBBY HORSES

DISHES AND CUPS
HAM ON PLATTER
BOWL AND TOWEL
STRIKE BOWL AND TOWEL
STRIKE HAM ON PLATTER
STRIKE DISHES AND CUPS

NONE

PROPERTY PLOT AND ASSIGNMENT SHEET

PERFORMED BY

Stagehand #1

Lucentio

Tranio
Tranio
Hortensio
Lucentio
Hortensio
Hortensio
Servant
Servant
Petruchio
Petruchio

Lucentio
Hortensio
Hortensio
Lucentio
Hortensio
Hortensio

Servant and

Biondello
Grumio
Grumio
Tranio

Katherine
Petruchio
Katherine
Petruchio

Josepha
Natalia
Josepha

‘ Josepha

Cook
Natalia

TABLE VI.

ACT IV SCENE 3:

ACT IV SCENE 4:
ACT IV SCENE 5:

ACT V SCENE 1:
ACT V SCENE 2:

(comm)

BISCUIT

STRIKE BISCUIT

ROAST ON PLATTER

HAT

DRESS

STRIKE HAT

STRIKE DRESS

STRIKE ROAST ON PLATTER

NONE
2 HOBBY HORSES
STRIKE 2 HOBBY HORSES

NONE

FLORAL CENTERPIECE
PITCHERS AND GOBLETS

117

Grumio
Katherine
Natalia
Milliner
Dressmaker
Milliner
Dressmaker
Grumio

Katherine
Petruchio
Katherine
Petruchio

Biondello
Tranio and
Biondello

 

.

 

TABLE VII. FURNITURE PLOT AND ASSIGNMENT SHEET

EQEE!

PROLOGUE:

ACT I SCENE 1:
ACT I SCENE 2:
ACT II SCENE 1:
ACT III SOSNS 1:

ACT III SCENE 2:

ACT IV SCENE 1:

ACT Iv SCENE 2:
ACT Iv SOSNS 3:

“'1' IV SCENE 1::
ACT Iv SOSNS 5:

ASSIGNMENT
NONE

NONE

NONE
STOOL #1

RS-SST STOOL #1
STOOL #2
STOOL #3

RE—SET STOOL #1
RE—SET STOOL #2
RE—SET STOOL #3
SMALL TABLE

STRIKE STOOL #1
STRIKE STOOL #2
STRIKE STOOL #3
STRIKE SMALL TABLE

STOOL #1

STOOL #2

SMALL TARLS

STRIKE SMALL TABLE
STRIKE STOOL #1
STRIKS STOOL #2

NONE

STOOL #1

STOOL #2

SMALL TABLS
STRIKE STOOL #1
STRIKE STOOL #2
STRIKE SMALL TABLE
NONE

NONE

NONE

§§RFORMED.BY

Servant

Servant
Servant
Servant

Servant
Servant
Servant
Servant

and

Biondello

Josepha
Natalia
Servant
Cook

Josepha
Natalia
Cook
Grumio
Josepha
Natalia

Josepha
Natalia
Cook
Josepha
Natalia
Cook

I‘M” fl

TABLE VII. (CONT ‘D)

ACT V SCENE 2:

LONG TABLS
LONG BENCH
STOOL #1
STOOL n
STOOL A!
STOOL #

119

Servant and
Tran io
Biondello
Grumio
Servant
Tranio

TABLI VIII.

CHARACTER
BAPTISTA:

INCENTIO:

PETRUCHIO :

VINCENT IO:

GREMIO:

HORTBNSIO:

TRANIO:

B IONDELLO ;

ETHNIC:

COSTUME PLOT

TIME VCR!
Entire play

ACT I So 1

ACT I So 2 to
ACT IV Se S
ACT V

PROLOGUE to
ACT II Se 1
ACT III Se 1 to
ACT IV Se 5

ACT V

Entire play

Entire play

ACT I

ACT II Se 1 to
ACT IV Se 1
Rest of play

ACT I Se 1

'AOT I So 2 to

ACT IV Se b
ACT V

Entire play

Entire play

120

COSTQHE

Dark blue-green denim tunic
Black denim robe
Black tights

Orange striped denim tunic

Black tights

Tranio's black and gray
striped denim tunic

Orange brocade tunic

Red and blaek striped
denim tunic a red tights
Yellow and red tattered
tunic
Red and gold print tunie

Blue and gold print tunic
Blue tights

Purple, green and gold
print tunie
Purple tights

Purple and gold print tunic
Lavender tights
Eggshell faille tunic

Same as ACT I

Black and gray striped denim
tunic

Gray tights

Lueentio's orange striped
denim tunie

Same as ACT I

Circus striped orange denim
tunic
Tan tights

Circus striped blue and red
denim tunic
Blue tights

/'

U.

 

 

TABLE VIII.

PEDANT:

SERVANT:

OFFICER:

KATHERINE:

BIANCA:

WIDOW:

COOK:

JOSEPHA:

(CONT'D)

Entire play

Entire play

Entire play

ACTS I and II

ACTS III and IV

ACT V

ACTS I and II

ACTS III and IV

ACT V

Entire play

Entire play

Entire play

121

Dark redporange denim tunio
Gray denim robe
Gray tights

Yellow faille tunic
Green tights

Gray denim tunic
Green tights

Turquoise taffeta dress
with black and gold
trim

Black and gold.hat

Black slippers

White taffeta wedding gown

White hat

White slippers

Dark red and pink taffeta
dress

Dark red hat

Black slippers

Olive green denim dress
with insert of olive
and black striped denim

Olive green hat

Black slippers

Deep green wool dress with
cream faille insert

Cream hat

Black slippers

Rose brocade wedding gown

Rose net hat

Bose slippers

Lavender taffeta dress
Black hat
Purple slippers

Deep brown denim blouse
Yellow denim skirt and

Jumper
Black slippers

Yellow denim blouse
Deep brown denim skirt and

Jumper
Blaek slippers

 

 

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122

TABLE VIII. (CONT 'D)

NATALIA: Entire play Same as Josepha
DRESSMAKER: Entire play Blue velvet dress with
red taffeta trim
Blue slippers
MILLINER: Entire play Gray-blue and black striped
denim dress
Black slippers
FIRST LADY: Entire play Lime green taffeta dress

Green hat
Black slippers

SECOND LADY: Entire play Watermelon red taffeta
dress

Red net hat

Black slippers
THIRD LADY: Entire play Burnt orange taffeta dress

Orange hat

Black slippers
NOTE: All mmle characters wore black ballet slippers
throughout with the exception of Petruchio who wore a pair
of leather boots during ACTS III and.IV. There were no
changes of tights, thereby eliminating lengthy costume
Changes. In the exterior scenes, capes and hats were worn

‘by the male characters. Katherine wore a cape during the

Travel Interim and ACT IV SCENE 5.

 

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133

TABLE IX. COSTUME COLOR SNATCHES

\
Baptista - Robe ’ {
Entire play , ‘

‘1,

  

Baptista - Tunis
Entire pla

    
  

 

Lueentio - Tunie Luoentio - Tunie
Act I Se 1 Act V

 

 

/

Petruchio - Tunic
Aets I and II Act V
. _ f g /

   

Vinoentio -
Entire play Tunic

-..—._-
I__
—

 

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want 11. (comm)

lortenaio '\Tun1.
Act: I, IV ‘nd v

    

Tranio 4 Tunic
‘Ot‘ I and Iv

Gr“ (,- Tunic
“111‘. 'play

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fill," I

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134

Hortonaio _ Tunic
Act: II and III

a". -
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fl --
II
b
at '~ ‘

Biondello - Tunic
Entire pm

 

Sorvant - Tunic
Intire Play

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lntirc play

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Katherine é Drona
Act V

 

Bianca - Drona trim
Act: III and IV

 

rhea Vivhw§ - .
I
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Kntherinc - Dress
Acts I and II

 

 

Blanca — Drona
Act: III and IV

Widow - Drona

 

 

 

 

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136

- Blouse

Entire play

Cock

(comm)

Cook - Skirt
Entire play

TIBLI IX.

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4

second Lady - Dress

Shirt - Entire play
Entire play

Natalia and Josepha
Hilliner I Dreee
Entire play

 
 
 

PART D: INTEGRATING THE SHOW

Although the designer does not have full responsibility

for all the various aspects of the show, he should exert some
effort in integrating these aspects into an artistic whole.
The designer has responsibility for the set, furniture, pro-
perties, lighting and costume design. However, the responsia
bility for directing, make-up, costume construction, printing
of programs, and music falls to others.

One of the major steps the designer should take is to
reach a complete agreement with the director as to the style
to be used. When a basic interpretation of the play is agreed
upon, all efforts can be directed toward the realization of that
interpretation. h

Since the director was to develop through the acting a
stylized exaggeration, the designer had to catch this same
exaggerated spirit of gaiety. An attempt was made to catch
this spirit in the stylized designs of the various houses,
costumes, and preperties and the painting of the decor on the
set and furniture. The idea of using hobby horses was in
itself an attempt to carry this idea of stylized comedy further.
The lowering of the chandelier in the Baptista interior scenes
also enhanced this spirit. The very conception of having the
walls move and the scenes change before the audience was a
stylized approach rather than realistic. The actors were re-
hearsed to work with the set in a spirit of fun and Grumio

evoked many laughs merely by moving a wall in character. In the

.——A-; a

138

scenes using the whole stage, the actors had a large clear
space to move around in allowing for fluid and large movements.
The level was used to advantage in some scenes to provide a
strong entrance, and was also used to achieve variety and
interest to stage pictures and groupings. At one point, Grumio
sprawled magnificently down the steps after being cuffed by
Petruchio. When the Pedant unexpectedly stuck his head out

the second story window, the audience reacted in surprise and
delight. The total effect was to have the set enter into and
carry out the spirit of fun the director was trying to convey.

The elements of the set itself were integrated mainly
by means of repetition. For instance, there was some type of
linear design in each of the four main units Just as there was
a repeat border design in each. The painted swag effect in
Baptista's house was later repeated in Petruchio's house. The
draped door in Hortensio's house was echoed in Petruchio's.
Each major unit had vertical lines, horizontal lines, curved
lines, and circular motifs which related them in design. Each
unit also had a light and dark color pattern, although the
proportion of light to dark was not the same in each case.

An attempt was made to unify the costumes, furniture,
properties and setting by use of the same colors throughout.
As an example of this practice, the medium orange was used as
a base color on Lucentio's house, a trim color on Petruchio's
house, a spatter color on Hortensic's house and a detail color

on Baptista's house. This color was also used for a bench, a

 

 

139
stool, and several of the props. This procedure was followed
on all colors used.

To make the lighting in harmony with the set, the
light changes were made right along with the set changes with
no attempt to achieve logically motivated light. The light
colored gelatins used in the acting areas heightened the
effect of the painted colors on the set and the colors of the
costumes and helped maintain the spirit of the comedy. More
striking color effects were achieved by using strong pigmented
gelatins in the interior backing areas, and very strong
colored gelatins in the spotlights that illuminated the statue
and the chandelier.

The matter of make-up presented a serious problem. To
be in the same vein as the other aspects of the production, the
make-up would have to be similarly stylized. The committee
was necessarily large and relatively untrained and the designer
felt that an attempt to teach them to apply a stylized make-up
would be impractical. This process would consume a great deal
of time at a point in the preparation of the production when
time was limited. Rather than run the risk of having the actors
look ludicrous by an inexpertly applied elaborate make-up, the
designer compromised by having the make-up as simple and
inobtrusive as possible. .

In an attempt to put the audience in the preper frame
of mind before the performance began and to maintain the mood

during the intermissions, the director and designer decided

 

:8.“

1&0
that the music used should also carry the mood of the play.
The vocal preface to the play as well as the selection played
by the orchestra during the intermissions were taken from
Cole Porter's musical version of Egg Taming g; thg ghggg, called
glgg'gg,.§§tg.5 The music is gay and spritely and was well
suited to the comedy. The selection sung as a curtain raiser
was 'Brush Up Your Shakespeare' from the aforementioned musical

which fitted the production with its comic lyrics.

 

5Daniel Blum, editor, Theatre World Season l2t81gg.
(New Tort: Greenberg: Publisher, 1959), p. 118. Kiss fig, Kate;
book by Sam and Bella Spewack; music and lyrics by Cole
Porter: opened December 30, l9t8 at the Century Theatre,

New York.

 

 

CHAPTER V
PART A: EVALUATION

In discussing the evaluation of the setting of a
play, the impression might be given that it was the major
factor in the success or failure of the venture. The designer
realizes that the physical aspects of the production must
implement the intent of the author and the director and not
be the most important factor of the production. Therefore, the
setting will be discussed in its relation to the needs it
fulfilled.

The consensus of student opinion gleaned from the play
reviews received in the English class assignments indicated a
majority of favorable reactions. The plan of production
followed had never been used at Handy High School prior to
233 Taming g; thg_§h§gg and the designer did not know whether
the audience would accept the plan. Many of the students in
the audience were intrigued by the idea of being able to move
into the inside of a house merely by swinging a wall. They
accepted the convention of having the servants carry on and
move the furniture and were conscious of the fact that this
procedure speeded up the proceedings and made the closing of
the curtain unnecessary. The students mentioned being 'let in'
on what was going on backstage when these changes occurred.
The reactions to the changing of the lighting as the play
progressed were similar to the reactions to the method of

changing scenery. Those who liked the scenery changes also liked

the light changes.

(v

 

142

The student opinion of the colors used on the set and
costumes was almost one hundred per cent favorable. One
student commented that the colors were Iso bright and airy you
knew the play was going to be a comedy.'1 The profusion of
stimulating colors did aid in putting the audience in the proper
frame of mind for the play.

Some of the comments concerning the method of changing
scenery were unfavorable. Those students who did not like the
method employed preferred the traditional method of closing
the curtain for each scene change. These students were
evidently unwilling to accept an unfamiliar approach to this
problem. If this traditional method had been followed, the
curtain would have been pulled eleven times during the course
of the show thereby slowing down the production considerably.
One student felt that having the servants come on to do the
scene changes let the audience down from the peak of the previous
scene. This is inconsistent thinking as pulling the curtain
as suggested would also have let the audience down and at the
same time would probably have lost their attention.

Audience reaction from the more mature point of view
indicated that adults were aware that the staging caught the
spirit of the production; the plan of production eliminated
long waits for scenery changes; the educational effectiveness
of the play went far beyond its actual performance; the

maneuverability of the set suited the play; the cooperation of

 

1Quote from student play review.

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the many departments in the school in working on the production
aroused an unusual amount of interest in the final performances;
and that the students were given an opportunity to appreciate
Shakespeare other than just reading his plays. These reactions
were expressed by adults in the audience, teachers,
administrators, and the director in letters which are included
in the Appendix of this thesis.

Audience interest in the entire production was high
judging from the attendance figures. Three performances were
given of Th3 Taming 2; the Shrew and this marks the first time
more than two performances have ever been given of any one
production at Handy High School. Regular performances were
held on Friday and Saturday evenings, February 5th and 6th,
195“ plus a Saturday matinee with a total audience of fifteen
hundred and fifty persons. The matinee was held for interested
students who were not from the Bay City area. Information
brochures and posters were mailed to over one hundred high
schools in the surrounding area. (Samples of this mailing
material are included in the Appendix.) Approximately three
hundred and fifty out of town students attended the matinee and
were from such schools as far away as Grand Rapids, West Branch,
and Traverse City, to mention only a few.

The actors thoroughly enjoyed being in the play. They
were delighted with their gay and colorful costumes and were
not loathe to romp and run through the action of the script.

The actors were aided in carrying out the fast paced and

3
\

 

(1‘

AA-

um

exaggerated movement demanded by the director by the bright
colors in the set and costumes and the mechanics of the set.
The set was appropriate for the style of the play and was
sturdy enough to take the rough treatment of the action. The
actors found that working with the scenery, furniture and
properties was a new experience to them. They were somewhat
apprehensive of having to accept additional responsibilities
for the production in addition to their acting. When they ever-
came their initial reluctance the actors cooperated to the
fullest extent and in a sense this added responsibility
increased their confidence. They did not have to worry whether
or not someone backstage would remember an important assignment
because the actors themselves took care of these backstage
duties. These additional duties were even welcomed as they
enabled the actor to appear before the audience for the purpose
of ceremonicusly moving a stool into another position,
laboriously moving a wall, or perhaps importantly carrying in

a papier-mache and plaster wedding cake.

PART B: OPINION OF THE DESIGNER

The designer felt that the setting was an effective
contribution to the total production. Not only was the set
visually pleasing, but it was also a practical, workable
design. After the crews and actors became accustomed to the
routine of the changes, the production ran smoothly and evenly.
The careful attention to the details of these changes and the
rehearsing of the timing involved to effect them contributed
to this overall smoothness.

From the standpoint of the mechanics of the design,
the designer felt that the Petruchio and Baptista units were
extremely workable, although the swinging wall of Lucentio's
house was not quite so successful. Because the unit was so
tall it leaned slightly in the open position and had to be
carefully maneuvered by Grumio to keep it in proper position.
The extreme height also eliminated the use of the chandelier
designed for the interior of Lucentio's house; the addition of
which would have added an extra flair to the scene. This unit
was also heavier than the others and had to be fitted with ball
bearing casters so it could be swung more easily. Regardless
of these casters, the unit was more awkward to handle than the
others. This situation was not apparent until the set had
been mounted and at that time it was too late to redesign and
rebuild the unit.

The designer had included in the preliminary sketches

a more elaborate design than finally was realized on the stage. i

146

Some of the proposed units, such as canopies and more ornate
doorway constructions, while valid from the standpoint of the
design and the period, were deemed as involving too many
construction problems for the high school crews. Since the
finished production of The Taming g; the Shrew was, nonethe-
less, more elaborate than the regular productions, there were
more units to prepare than usual. Therefore some of the
preliminary ideas had to be eliminated especially on the basis
of limited time. All the work sessions used in preparation for
the play were used to their fullest extent and a more involved
plan would have overtaxed the capabilities of the students.

The one phase of the production in which the designer
felt that a detrimental compromise had been made due to the
inexperience of high school students was in the matter of make-
up. The lack of experience was not the fault of the students
but of the designer for not having educated the make-up
committee to the particular demands of the play. This education
should have been started far in advance of the week of
production. In the future, a special attempt will be made early
to acquaint the student committee with any special make-up
requirements should the need arise.

The time spent in planning the color relationships
between the characters and in the setting was particularly re-
warding. The designer received a great deal of personal
satisfaction from watching the flow of color as carried out in
the scenery, costumes, properties and furniture and felt that

this aspect of the production was very effective and successful.

..Iv, ‘. . Y

 

147

The designer was also pleased with use of the actors
as stagehands during the scene changes. This technique made
the show run smoothly and made backstage traffic less hectic.
Many favorable comments were received from the audience on this
point and the opinion was expressed that this technique added
a distinctive quality to the production.

The art students gained valuable experience from par-
ticipating in so many phases in the preparation of the
production. The designer believes their imagination was
stimulated by making such decorative objects as the flags and
hobby horses and in designing the costumes. The actual building
of the status, which was over life size, involved some practical
construction as well as aesthetic considerations. The frame-
work of the statue had to be mounted on the base in such a
manner that the entire assembly would balance. And the appli-
cation of the wire framework took considerable thought and
planning. Painting was done with colors used in the set and
textural effects were achieved by dry brushing and spattering.
The designer was gratified at the number of art students who
had their interest aroused as a result of working on properties
in the art class and who were willing to come in the evenings
to paint the set. Consequently, the designer now has a crew of
competent students who are interested in painting scenery and
who will be of invaluable help in future productions.

The regular stage crews are now more aware of the value
of a well coordinated production. The experience the crew and

actors received has, in the opinion of the designer, created a

 

W

1?.

 

148

new appreciation of the value of teamwork backstage. Actors
who had had no previous experience in the duties of the crews
were made more aware of the countless number of details that
have to be completed, and were made to realize the importance
of these backstage responsibilities to the success of the
production. The idea that backstage work was good enough for
those who could not act was discouraged. Although interest in
backstage work.had always been high at Handy High School, the
added prestige of working on the crews for Egg Taming 93 Egg
ghggg has raised the level of this work in the esteem of the
students.

In summary, the designer felt that the production was
a success for the school and community from the standpoint of:
raising the standard of productions both for participants and
audience; creating additional art interest in the theatre and
providing an outlet for those of special talent; opening
wider possibilities in choice of plays for future productions;
developing a better coordinated backstage situation; providing
a project in which a great number of persons participated in
some capacity; and giving the school and community an
opportunity to see a play by Shakespeare.

The author also felt that this project was of extreme
value to him as a designer. He learned to gauge to a more
reliable degree the capabilities of high school students, and
also gained a better rapport with more students by working

with them in out-of-class situations. This rapport carried

...._ .... ..._.,. ._..MJ

149
through to class work thereby creating a better atmosphere of
understanding between students and the designer. Another
important outcome of the production was to raise the designer's
estimation of the quality of students‘ achievement with a
resultant resolve to plan even more ambitious designs for the
future productions. In this manner the level of excellence
will be raised in subsequent staging. The designer believes
that his ability as a scenic artist has been raised as a result
of Th3 Taming g; the Shrew. The exacting demands of the
script, author, stage and director.have sharpened his aware-
ness of these problems‘and made him more cognizant of the value

of their satisfactory and effective solution.

150

CHAPTER VI. THE SCRIPT WITH TECHNICAL CUES

COLOR NOTATION KEY:

L. Light Cues

F: Furniture Cues

P Property Cues

55 Scenery Cues

DEFINITION OF TERMS AND ABBREVIATIONS:

BAPT:
BEAM:
EKG:
CHAN:
EXT:
FLOODS:
NOR:
INT:
LUC:
OUT:
PET:
SPOTS:
STAT:
UP:

Baptista's

750 watt ellipsoidal spotlight
Backing

Chandelier

Exterior

300 watt scoop—type floodlights
Hortensio's

Interior

Lucentio's

Dileight down

Petruchio's

500 watt baby spotlight

Statue

Light on full

Q. I.

I.

so

 

.,--.

 

‘— Work lights out
louse lights out
Beam ## up

1* Beam #4 out

L-Stat up
Floods X, Y, Z u
Beams #1, 2, 3, up
Spots #19 2’ 3: “a 5: 6 up
Bapt ext bkg up
Luc Hor int bkg up

P 'F‘or Rent' sign

 

 

151
mm LAMING 9,: THE 51mm!

PROLOGUE
L,
(ENTER PETRUCHIO)

My lords and my ladies:

Your honours' players, hearing your many pleas,
Are come to play a pleasant comedy;

For so your doctors hold it very meet,

Seeing too much sadness hath congealed your blood,
And melancholy is the nurse of madness:
Therefore they thought it good you heard a play
And frame your mind to mirth and merriment,
Which bars a thousand harms and lengthens life.
As for our play, it is a kind of history:

A kind of story of a man's way with a maid,

And a maid's way with a man, but in her way
Both the story lie.

(CURTAIN STARTS TO open)

Look how thy servants do attend on thee,
Each in his office ready at thy beck.
Sirrahs, the play begins-.

L.

ACT I

Scene 1. Padua. A public place.

L P
(ENTER LUCENTIO AND HIS MAN TRANIO)

Lu°entioz Tranio, Since for the great desire I had
To see fair Padua, nursery of arts,
I am arrived in fruitful Lombardy,
The pleasant garden of great Italy.
And by my father's love and leave an arm'd
With.his.good will and thy good company,
My trusty servant, well approved in all.
Here let us breathe and happily institute.
A course of learning and ingenious studies.
Tell me thy mind.

 

 

 

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153

ACT I, Scene 1.

Tranio:

Lucentio:

Tranio:

Parden me, gentle master mine,

Music and poesy use to quicken you.

The mathematics and the metaphysics,

Fall to them as you find your stomach serves you;
No profit grow where is no pleasure taken.

In brief, sir, study what you most affect.

Many thanks, Tranio, well dost thou advise.
We shall at once put us in readiness,

And take a lodging fit to entertain

Such friends as time in Padua shall beget.
But stay a while, what company is this?

Master, some show to welcome us to town.

(ENTER BAPTISTA, KATHERINA, BIANCA, GREMIO AND HORTENSIO.
LUCENTIo AND TRANIC STAND BY.)

Baptista:

Gremic:
Katherine:
Hortensio:

Katharina:

Hortensio:
Gremio:

Tranio:

Gentlemen, importune me no farther,

For how I firmly am resolved, you know;

That is, not to bestow my youngest daughter

Before I have a husband for the elder.

If either of you love Katherine,

Leave shall you have to court her at your pleasure.

She's too rough for me.
There, there, Hortensio, will you any wife?

I pray you, sir, is it your will
To make a fool of me amongst these mates?

Hates, maid! how mean you that? No mates for you,
Unless you were of a gentler, milder, mould.

In faith, sir, you shall never need to fear.
But if you did, doubt not my care should be
To comb your noddle with a three-legged stool
And bloody you face and use you like a fool.
From all such devils, good lord, deliver us.
And me too, good.Lord.

Hush, master! here's some good pastimetoward.
That wench is stark mad or wonderful forward.

154

ACT I, Scene 1.

Lucentio: But in the other's silence do I see
.A maid's mild behaviour and sobriety.
Peace, Tranio.

Tranio: Well said, master; mum! and gaze your fill.

Baptista: Gentlemen, that I may soon make good
What I have said, Bianca get you in;
And let it not displease thee, good Bianca,
For I will love thee none the less, my girl.

Katherine: A pretty pet! it is best I
You begin to cry; you know why.

Bianca: Sister, be happy in my discontent.
Sir, to your pleasure humbly I bow.
My books and instruments shall be my company,
On them to look and practice by myself.

Lucentio: Hark, Tranio! thou may'st hear heaven speak.

Hortensio: Signior Baptista, will you be so strange?
Sorry am I that our intentions cause Bianc's grief.

Gremio: . Why will you shut her up,
Signior Baptista, for this fiend of spite,
And make her bear the penance of her tongue?

Baptista: Gentlemen, content ye; I am resolved.
Go in, Bianca;

(EXIT BIANCA)

Because I knOW'Bhe takes great delight

In music, instruments, and poetry,
Schoolmasters will I keep within the house,
Fit to instruct her youth. If you, Hortensio,
0r Signior Gremio, you, know any such,

Send them.hither; for to cunning men

I will be very kind, and liberal

To my own children in good bringing up.

And so, farewell. Katherina, you may stay;
For I have more to say to Bianca.

(EXIT BAPTISTA)
Katharina: Why, and I trust I may go too, may I not?
(EXIT KAIHERINA)

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155

ACT I, Scene 1.

Gremio:

Hortensio:

Gremio:
Hortensio:
Gremio:
Hortensio:

Gremio:

Hortensio:

Gremio:

Hortensio:

Gremio:

You may go to the devil. Hortensio, if I can
by any means find a fit man to teach her that
in which she delights, to my sweet Bianca will
I send him. I will wish him to her father.

So will I, Signior Gremio. But a word with you
I pray. There is a way we might settle our
quarrel.

What's that, I pray.

Marry, sir, to get a husband for her sister.
A husband? A devil!

I say, a husband.

I say, a devil. Think'st thou, Hortensio, though
her father be very rich, any man is so much a
fool as to be married to her?

Listen, Gremio. Though is pass you patience and
mine to listen to her loud yammering, why, man,
there be good fellows in this‘world, if we could
find them, would.take her with all faults, if the
money was enough.

I do not know; but I had as soon take her dowry
'with this condition, to be whipped in the market
square every morning.

Faith, as you say, there's smell choice in rotten
apples. But come; this makes us friends, till by
helping Bianca‘s eldest sister to a husband, then
‘we set the youngest free for a husband, and have
to't afresh. Sweet Bianca! He that runs fastest
gets the ring. How say you, Signior Gremio?

I an.agreed; and would_I had given him.the best
horse in Padua to begin his wooing that would
thoroughly woo her, wed her, and rid the house
of her. Come on. ,

(MUNT GnEmo AND HORTENSIO)

 

156

ACT I, Scene 1.

Tranio:

Lucentio:

Tranio:

Lucentio:

Tranio:

Lucentio:

Tranio:

Lucentio:

Tranio:
Lucentio:

Tranio:

Lucentio:

Tranio:

I pray, sir, tell me, is it possible
That love should of a sudden take such hold?

0 Tranio, till I found it to be true,

I never thought it possible or likely.
But, Tranio, I burn, I pine, I perish,
If I achieve not this young modest girl.

Master, you looked so longingly on the maid,
Perhaps you marked not what's the pith of it all.

0 yes, I saw sweet beauty in her face.

Saw you no more? Marked you not how her sister
Began to scold and raise up such a storm
That mortal ears might hardly endure the din?

Tranio, I saw her coral lips move
And with her breath she did perfume the air;
Sacred and swee was all I saw in her.

Nay, then, tis time to stir him from his trance.

I pray, awake, sir. If you love the maid,

Bend thoughts and wits to achieve her. Thus it stands:
Her elder sister is so curst and shrewish

That till the father rid his hands of her,

Master, your love must live a maid at home.

And therefore has he closely shut her up,

Because she will not be annoyed‘with suitors.

Ah, Tranio, what a cruel father's he.
But art thou not advised, he took some care
To get her cunning schoolmasters to instruct her?

Ay, marry, am I, sir; and now ‘tis plotted.

I have it, Tranio. I will instruct her.
You will be the school master
And.undertake the teaching of the maid?
That's your device?

It is; may it be done?

Not possible; for who shall bear your part,

And be in Padua here Vincentio' s son,

Keep house and ply his books, welcome his friends,
Visit his countrymen and banquet them?

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157

ACT I, Scene 1.

Lucentio:

Tranio:

Lucentio:

Enough, content thee. I have it full.

We have not yet been seen in any house,

Nor can we be distinguished by our faces,
Master or man. Then it follows thus:

Thou shalt be master, Tranio, in my stead,
Keep house and port and servants, as I should.
I will some other be, some Florintine,

Some Neapolitan, or meaner man of Pisa.

'Tis hatched and shall be so. Tranio, at once
Unease thee; take my colored hat and cloak.
When Biondello comes, he waits on thee;

But I will charm him first to keep his tongue.

So had you need.

In brief, sir, if it your pleasure is,
I am content to be Lucentio,

Because I so well love Lucentio.

Tranio, be so, because Lucentio loves;
And let me be a slave to aohieve that maid
Whose sudden sight hath enthralled my wounded eye.

(ENTER BIOHDELLO)

Biondello:

Lucentio:

Bil-C’ndello :

LuOBntio:

Biondello:

Here comes the rogue. Sirrah.where have you been?

Where have I been? Nay, how now! what are you?
Master, has my fellow Tranio stolen your clothes?
or you stolen his? or both? Pray, what's the news?

Sirrah, come hither; 'tis no time to Jest.
Your fellow Tranio here, to save my life,
Puts my apparel and my countenance on,

And I for my escape have put on his.

For in a quarrel since I came ashore

I killed a man and fear I was seen.

Wait you on him, I charge you,

While I make way from hence to save my life.
YOu understand me?

Never a bit.

And not a word of Tranio in your mouth,
Tranio is changed into Lucentio.

The better for him; would I were so too!

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158

ACT I, Scene 1.

Tranio:

Lucentio:

Would that Lucentio had Baptista‘s youngest
daughter,

But, sirrah, not for my sake, but your master's,
I advise,

You use your manners discreetly in all kinds of
companies.

When I am alone, why, then I am Tranio;

But in all places else your master Lucentio.

Tranio, let's go. One thing more, thyself plan
to make one among these wooers. If thou ask me
why, be it enough that my reasons are both good
and‘weighty.

(EJCEUNT TRANIo, LUCENTIO, BIDNDELLo) P

Scene 2. Padua. Before Hortensio's house.

(ENTER PETRUCHIO AND HIS MAN GRUMIO)

Petruchio:

Grumio:

Petruchio:
(krumio:

Petruchio:

(krumio:

Petruchio:

Verona, for a while I take my leave

To see my friends in Padua, but of all
My best beloved and approved friend,
Hortensio; and I think this is his house.
Here, sirrah Grumio; knock, I say.

Knock, sir! whom.should I knock? Is there
any man has abused your worship?

Villain, I say, knock me here soundly.

Knock you here, sir! ‘Why, sir, what am I,
air, that I should knock you here, sir?

Villain, I say, knock me at this gate
And rap me well, or I'll knock your knaye!s pate.

my master is grown quarrelsome. I should
knock you first, ,
And then I know after who comes by the worst.

Will it not be?
Faith, sirrah, if you‘ll not knock, I'll ring it.
I'll see how you can sol, fa, and sing it.

(NE WRINGS HIM BY THE mas)

 

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159

ACT I, Scene 2
Grumio: Help, master, help! my master is mad.

Petruchio: Now, knock, when I bid you, sirrah villain!
(ENTER HORTENSIO)

Hortensio: How now! What's the matter? My old friend
Grumio! and my good friend Petruchio! How
is it you are in Padua?

Petruchio: Signior Hortensio, come you to part the fray?

Hortensio: Welcome to our house, much honored Signio
Petruchio.
Rise, rise Grumio. We settle this later.

Grumio: If this be not a lawful cause for me to leave his
service, look you, sir. He bid me knock him and
rap him soundly, sir. Well, was it fit for a
servant to use his master so?

LPetruchio: A senseless villain! Good Hortensio,
I bade the rascal knock upon your gate
And could not get him for my heart to do it.

(Irumio: Knock at the gate! 0 heavens! Spake you not
these words plain, “Sirrah, knock me here,
rap me here, knock me well, and knock me
soundly“? And come you now with, "knocking
at the gate"?

Petruchio: Sirrah, be gone, or talk not, I advise you.

Hortensio: Petruchio, patience; I am Grumio's friend. Why
this is a sad happening 'twixt him and you,
Your ancient friend, pleasant, trusting Grumio.
And tell me now, sweet friend, what happy gale
Blows you to Padua here from old Verona?

Petruchio: Such wind as scatters young men through the world
To seek their fortunes farther than at home
Where small experience grows. But in a few,
Signior Hortensio, thus it stands with me:
Antonio, my father, is deceas'd;
And I have thrust myself into this maze,
Happily to wive and thrive as best I may.
Crowns in my purse I have and goods at home,
And so am come abroad to see the world.

 

I60

ACT I, Scene 2

Hortensio:

Petruchio:

Grumio:

Hortensio:

Petruchio:

Hortensio:

Petruchio:

Grumio:

Petruchio, shall I then come roundly to thee
And wish thee to a shrewd ill-favoured wife?
Thou'dst thank me but a little for my counsel;
And yet I promise thee she shall be rich

And very rich. But thou' rt too much my friend,
And I' 11 not wish her to thee.

Signior Hortensio, 'twixt such friends as we
Few words suffice; and therefore, if thou know
One rich enough to be Petruchio' a wife

Be she foul, curst, and shrewd, or worse,

She moves me not, or not removes, at least,
Affection! s edge in me, were she as rough

As are the swelling Adriatic seas.

I come to wive it wealthily in Padua;

If wealthily then happily in Padua.

Nay, look you, sir, he tells you flatly what
his mind is. Why, give him gold enough, and
marry him to a puppet, or an old trot With
ne'er a tooth in her head.

Petruchio, since we are stepp'd thus far in,
I will continue what I broached in jest.

I can, Petruchio, help thee to a wife
With.wealth enough and young and.beauteous,
Brought up as best becomes a gentlewoman.

Her only fault, and that is fault enough,

Is that she is intolerable curst

And shrewd and forward, so beyond all measure
That were my state far worser than it is,

I would not wed her for a mine of gold.

Hortensio, peace! Thou know'st not gold's effect.
Tell me her father! 3 name and 'tis enough.

Her father is Baptista Minola,

An affable and courteous gentleman.

Her name is Katharina Minola,

Renowned in Padua for her scolding tongue.

I know her father, though I know not her;
And he knew my deceased father well.
I will not sleep Hortensio, till I see her;

On my word, if she knew him as well as I do,
she would think scolding would do little
good upon him. I pray you, sir, let him go
while the humour lasts.

 

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161

ACT I, Scene 2

Hortensio: Wait, Petruchio, I must go with thee,
For in Baptista 3 keep my treasure is.
He hath the Jewel of my life in hold,
His youngest daughter, beautiful Bianca,
And withholds her from me and more.
His order, hath Baptista given,
That none shall have access unto Bianca
Till Katherine the curst have got a husband.

Grumio: Katherine the curst!
A title for a maid of all titles the worst.

Hortensio: Now shall my friend Petruchio do me grace,
And offer me disguised in sober robes
To old Baptista as a schoolmaster
Well skilled in music, to instruct Bianca;
That so I may, by this device, at least
Have leave and leisure to make love to her
And unsuspected court her by herself.

(ENTER GREMIO AND LUCENTIO DISGUISED AS CAMBIO)

Grumio: Master, master, look about you. Who goes
there, ha?

IHortensio: Peace, Grumio! it is the rival of my love.
Petruchio, stand by a while.

Grumio: A proper stripling and an amorous one.
Hortensio: God Save you, Signior Gremio.

Gremio: And you are well met, Signior Hortensio.
Know you where I am going? To Baptista Minola.
I promised to inquire carefully
About a schoolmaster for the fair Bianca;
And by good fortune I have lighted.well
On this young man, for learning and behaviour
Fit for her turn, well read in poetry
And other books, good ones, I warrant ye.

Hortensio: 'Tis well; and I have met a gentleman
Hath promised.me to help me to another,
A fine musician, to instruct our mistress;
So shall I no bit be behind in duty
To fair Bianca, so beloved of me.

Gremio: Beloved of me; and that my deeds shall prove.

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162

ACT I, Scene 2

Hortensio:

Gremio:

Petruchio:

Gremio:

Petruchio:

Gremdo:

Petruchio:
Gremio:
Petruchio:

Gremio:

Hortensio:

Gremio, 'tis now no time to vent our love.
Listen to me, and if you speak me fair,
I'll tell you news good for either.

Here is a gentleman whom by chance I met,
Upon agreement from us to his liking,

Will undertake to woo curst Katherine,

Yea, and to marry her, if her dowry please.

So said, so done, is well.
Hortensio, have you told him all her faults?

I know she is an irksome brawling scold.
If that be all, masters, I hear no harm.

No, say'st so, friend? What country, man?

Born in Verona, old Antonio's son.
My father dead, my fortune lives for me;
And I do hope good days and long to see.

0 air, such a life with such a wife were strange!
But if you have a stomach,

You shall have me assisting you in all.

But will you woo this wild—cat?

Will I live?
Will he woo her? Ay, or I'll hang her.

Why came I hither but to that intent?

Think you a little din can daunt mine ears?
Have I not in time heard lions roar?

Have I not heard the sea, puffed up with.winds,
Rage like an angry boar chaffed with sweat?
Have I not heard great ordnance in the field,
And heaven's artillery thunder in the skies?
Have I not in a pitched battle heard

Loud alarums, neighing steeds, and trumpets slang?
And do you tell me of a woman's tongue,

That gives not half so great a blow to hear

As will a chestnut in a farmer's fire?

Hortensio, hark.
This gentleman is happily arrived,
My mind pleasures, for his own good and ours.

I promised we would be contributors
And bear his charge of wooing, whatsoever.

.0

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163

ACT I, Scene 2

Gremio:

And so we will, provided he wins her.

(ENTER TRANIO AND BIONDELLO)

Tranio:

Biondello:

Tranio:
Gremio:
Tranio:
Petruchio:
Tranio:
Lucentio:

Hortensio:

Tranio:
Gremio:

Tranio:

Gremio:
Tranio:

Gremio:

Hortensio:

Tranio:

Gentlemen, God save you. If I may be bold,
Tell me, I beseech.you, which is the readiest way
To the house of Signior Baptista Minola?

He that has the two fair daughters? Is't he

you mean?
Even he, Biondello.
Hark you, sir; you mean not her to -
Perhaps him and her, sir; what have you to do?
Not her that chides, sir, at any hand, I pray.
I love no chiders, sir, Biondello let's away.
Well begun, Tranio.
Sir, a word ere you go;
Are you a suitor to the maid you talk of, yea
or no?
And if I be, sir, is it any offence?

No; if not without more words you get you hence.

Why, sir, I pray, are not the streets as free
For me as for you?

Be so is not she.
For what reason, I beseech you?

For this reason, if you'll know,
That she's the choice love of Signior Gremio.

That she's the chosen of Signior Hortensio.

Softly, my masters! If you be gentlemen,
Do me this right: hear me with patience.
Baptista is a noble gentleman,

To whom.my father is not all unknown;

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Tranio

(Continued):And were his daughter fairer than she is,

Gremio:
Lucentio:
Petruchio:

Hortensio:

Tranio:

Petruchio:
Gremio:
Petruchio:

Tranio :

Hort ensio :

Tranio:

She may more suitors have, and me for one.
Well one more may fair Bianca.have;

And so she shall. Lucentio shall make one,
Though he came in hope to speed alone.

What! this gentleman will out-talk us all.
Sir, give him.head; I know he'll prove a Jade.
Hortensio, to what end are all these words?

Sir, let me so bold as ask you,
Did you ever see Baptista's daughter?

No, sir; but hear I do that he hath two,
The one as famous for a scolding tongue
As is the other for beauteous modesty.

Sir, air, the first's for me; let her go by.
Yea, leave that great labour to great Hercules.

Sir, understand you this of me in sooth:

The youngest daughter, whom you harken for,
Her father keeps from all access of suitors,
And will not promise her to any man

Until the elder sister first be wed.

The younger than is free, and not before.

If it be so, sir, then you are the man

Must help us all, and me amongst the rest,

And if you break the ice and do this feat,

Achieve the elder, set the younger free

For our access, whose luck it shall be to have her
Will not so graceless be to be unthankful.

Sir, you say well, and well you do conceive;
And since you do profess to be a suitor,
You must, as we do, gratify this gentleman,
To whom'we all are generally beholding.

Sir, I shall not be slack. in sign whereof,
Please ye we may meet this afternoon

And drink carouses to our mistress' health;
And do as adversaries do in law,

Strive mightily, but eat and drink as friends.

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Beams #3 and 4 out

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Spots #1, 2, 3, a, 5, 6 out
Bapt Chan & int bkg up

Open wall of Bapt house
Lower chan

Stool #1

 

165

ACT 1, Scene 2
Grumio: 0 excellent motion! Fellows, let's be gone.

Hortensio: The motion's good indeed, and be it so.
Petruchio, I shall be you host.

(EXEUNT)

L g, {:57 ACT II
Scene 1. Padua. A.room in Baptista's house.
(ENTER KATHERINA AND BIANCA)

Bianca: Good sister, wrong me not, nor wrong yourself,
To make a bondmaid and a slave of me.

Katherina: Of all thy suitors, here I charge thee, tell
Whom.thou lovest best; see thou liest not.

Bianca: Believe me, sister, of all the men alive
I never yet beheld that special face
Which I could love more than any other.

Katharina: Minion, thou liest. Is it no Hortensio?

Bianca: If you love him, sister, here I swear
I'll plead for you myself, and you shall have him.

Katharina: 0h then, belike, you fancy riches more.
You will have Gremio to keep you fair.

Bianca: Is it for him you do hate me so?
Nay then you Jest, and now I well can see
You have but Jested.with me all this while.
I prithee, sister Kate, untie my hands.

Katharina: If that be Jest, then all the rest was so.
(KATHERINA STRIKES HER. mas BAPTISTA.)

Baptista; Why, how now, dame! whence grows this insolence?
Bianca, stand aside. Poor girl! she weeps.
Go ply thy needle; meddle no with her.
For shame, thou wretch of a devilish spirit,
Why dost thou wrong her that ne'er did.thee wrong?
When did she cross thee with a bitter word?

Ill.

0

...

P Lute
Books

166

ACT II, Scene 1

Katharina: Her silence flouts me, and I'll be revenged.
(KATHERINA FLIES AFTER BIANCA.)

Baptista: What, in my sight? Bianca, get thee in.
(EXIT BIANCA.)

Katherina: What, will you not help me? Nay, now I see
She is your treasure, she must have a husband;
I must dance bare-foot on her wedding-day.
Talk not to me; I will go sit and‘weep
Till I can find a time for revenge.

(EXIT KATHERINA.)
Baptista: Was ever gentleman thus grieved as I?

(ENTER GREMIO, LUCEN‘I‘IO IN THE HABIT or A MEAN MAN:
PETRUCHIO WITH HORTENSIO AS A MUSICIAN; AND TRANIO,
WITH HIS BOY BIONDELLo BEARING A LUTE AND BOOKS.)

Gremio: P Good morrow, neighbor Baptista.

BaPtista: Good marrow, neighbor Gremio. God save you
gentlemen!

Petruchio: And you, good sir! Pray, have you not a daughter
Called Katherina, fair and virtuous?

Baptista: I have a daughter, sir, called.Katherina.
Gremio: You are too blunt; go to it orderly.

Petruchio: You wrong me, Signior Gremio; give me time.
I am a gentleman of Verona, sir,
That hearing of her beauty and her wit,
Her loveliness and her modesty,
Her wondrous qualities and mild behavior,
Make bold to have myself an uninvited guest
Within your house, to let mine eyes witness
or that report which I so often have hear.
And for provision of entertainment,
I do present you with a man of mine,

(PRESENTS HORTENSIO)

O.

.-

O“

np—fi

16?

ACT II, Scene 1

Petruchio:

Baptista:

Petruchio:

Baptista:

Petruchio:

Baptista:
Gremio:

Petruchio:
Gremio:

Cunning in music and mathematics,

To instruct her fully in those sciences,
Whereof I know she is not ignorant.
Accept him, I pray, else you do me wrong:
His name is Licio, born in Mantua.

You are welcome, sir; and he, for your good sake.
But for my daughter Katherina, this I know,
She is not for your heart, the more my grief.

I see you do not mean to part with her,
Or else you do not like my company.

Mistake me not; I speak but as I find.
Whence are you sir? What may I call your name?

Petruchio is my name; Antonio's son,
A man well known throughout all Italy.

I know him'well; you are welcome for his sake.

Petruchio, I pray,
Let us, that are poor petitioners, speak too.

O, pardon me, Signior Gremio.
Neighbor, this is a gift very grateful, I am

sure of it. To express the like kindness, I
freely give unto you this young scholar

(PRESENTING LUCENTIO)

Baptista:

that hath been long studying at Rheims; as
cunning in Greek, Latin, and other languages,

as the other in music and mathematics. His name
is Cambio; pray accept his service.

A thousand thanks, Signior Gremio. Welcome,
€006. Gambia.

(To TRANIO)

But, gentle sir, methinks you walk like a
stranger. May I be so bold as to know the

cause of your coming?

5.

 

 

Strike Lute
Strike Books

168

ACT II, Scene 1

Tranio:

Baptista:
Tranio:

Baptista:

Pardon me, sir, the boldness is mine own,

That, being a stranger in this city here,

Do make myself a suitor to your daughter, Bianca.
This liberty is all that I request,

That, upon knowledge of my parentage,

That I have welcome 'mongst the rest that'woo,
And toward the education of your daughters,

I here bestow a simple instrument,

And this small packet of Greek and Latin books.
If you accept them, their worth is great.

Lucentio is you name; of whence, I pray?
Of Pisa, sir; son to Vincentio.

A mighty man of Pisa; by report

I know him.we11. You are very welcome, sir.
Take you the lute, and you the set of books.
You shall go see your pupils presently.
Holla, within!

(ENTER A SERVANT)

Sirrah, lead these gentlemen
To my daughters; and tell them both,
These are their tutors. Bid them use them well.

(EXIT SERVANT, WITH LUCENTIO AND HORTENSIO,
BIONDELLO FOLLOWING) p -

Baptista:

Petruchio:

Baptista:

Patruchio:

‘We will walk a little in the orchard, -
And then to dinner. You are all most welcome.

Signior Baptista, my business asketh haste,
And every day I cannot come to woo.

You knew my father well, and him me,

Left solely heir to all his lands and goods,
Which I have battered than decreased.

Then tell me, if I get thy daughter's love,
What dowery shall I have with her to wife?

After my death the one half of my lands,
And in possession twenty thousand crowns.

Let specialities be drawn between us,
That covenants may be kept on either hand.

O

.

‘3 Broken lute

169

ACT II, Scene 1

Baptista:

Petruchio:

Baptista:

Ay, when the special thing is well obtained,
That is, her love; for that is all in all.

Why, that is nothing; for I tell you, father,

I am as demanding as shee proud—minded;
And.where two raging fires meet together

They do consume the thing that feeds their fury.

Well mayest thou woo, and happy be thy speed!
But be thou armed for some unhappy words.

(RE-ENTER HORTENSIO WITH HIS HEAD BROKE)

P How, now, my friend! why dost thou look so pale?

Hortensio:
Baptista:

Hortensio:

Baptista:

HOrtensio:

Petruchio:

Baptista:

For fear, I promise you, if I look pale.
What, will my daughter prove a good musician?

I think she'll sooner prove a soldier.
Iron may hold with her, but never lutes.

Why, then thou canst not break her to the lute?

Why, no; for she hath.broke the lute to me.
I did but tell her she mistook her frets,
And bowed her hand to teach her the fingering;
When, with a most impatient devilish spirit,
"Frets, call you these?" quoth she; “I
fume with them“
And, with that word, she struck me on the head,
And through the instrument my pate made way;
And.there I stood amazed for a while,
As on a pillory, looking through the lute;
And she did call me rascal fiddler
And twangling Jack, with twenty such vile
terms,
As she had studied to misuse me so.

Now, by the world, it is a lusty wench!
I'd love her ten times more than e' er I did.
0, how I long to have some chat with her.

Well, go with me and be not discomfited.
Proceed in practice with my younger daughter;
She's apt to learn and thankful for good turns.
Signior Petruchio, will you go with us,

Or shall I send my daughter Kate to you?

P Strike broken lute

170

ACT II, Scene 1

Petruchio:

I pray you do.

(EXEUNT ALL BUT PETRUCRIO)

I will attend her here,
And woo her with some spirit when she comes,
Say that she rail, why then I'll tell her plain
She sings as sweetly as a nightingale.
Say that she frown, I'll say she looks as clear
As morning roses newly washed with dew.
Say she be mute and will not speak a word,
Then I‘ll commend her volubility,
And say she utter piercing eloquence.
If she do bid me pack, I'll give her thanks,
AS though She bid.me stay by her a week.
If she deny to wed, I'll crave the day
When I Shall ask the banns and when be married.
But here she comes; and now, Petruchio, speak.

(ENTER KATHERINE)

Katherine:

Petruchio:

Katherine:

Petruchio:

Katherine:

Good morrow, Kate; for that's your name, I hear.

Well have you heard, but something hard of

hearing.
They call me Katherine that do talk to me.

You lie, in faith; for you are called plain Kate,
And bonny Kate, and sometimes Kate the cursed;
But Kate, the prettiest Kate in Christendom,
Kate of Kate H11, my superbdainty Kate,

For dainties are all Katee, and therefore, Kate,
Take this of me, Kate of my consolation;

Hearing thy mildness praised in every town,

Thy virtues spoke of, and thy beauty sounded,

Yet not deeply as to thee belongs,

Myself am moved to woo thee for my wife.

Moved! in good time. Let him that moved
you hither

Remove you hence. I knew at the first

You were a moveable.

Why, what's a moveable?
A joined-stool.

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171

ACT II, Scene 1

Petruchio:

Katherine:

Thou hast it; come sit on me.
Nay, come again,
Good Kate; I am a gentleman—

That I'll try.

(SHE STRIKES HIM)

Petruchio:

Katherine:

Petruchio:

Katherine:

Petruchio:

Katherine:
Petruchio:
Katherine:
Petruchio:
Katherine:
Petruchio:
Katherine:
Petruchio:
Katherine:
Petruchio:

Katherine:

I swear I'll cuff you, if you strike again.
So may you lose your arms.

If you strike me, you are no gentleman;
And if no gentleman, why then no arms.

Nay, come, Kate, come; you must no look
SO sour.

It is my fashion when I see a crab.

Why, here's no crab; and therefore look not
80 sour.

There is, there is.

Then show it to me.

Had I a glass, I would.

What, you mean my face?

Well aimed for such a young one.

Now, by Saint George, I am too young for you.
Yet you are withered.

'Tis with cares.

I care not.

Nay, hear you Kate.

Let me go.

172

ACT II, Scene 1

Petruchio:

Katherine:
Petruchio:
Katherine:

Petruchio:

Nay, not a whit; I find you passing gentle.

'Twas told me you were rough and coy and sullen.

And now I find report a very liar;

For thou art pleasant, gamesome, passing
courteous,

But slow in speech, yet sweet as spring-time
flowers.

Thou canst not frown, thou canst not look
askance,

Nor bite the lip as angry wenches will

Nor hast thou pleasure to be cross in talk,

But thou with mildness entertainest thy wooers.

Why does the report that Kate doth limp?

O slanderous world. Kate like the hazel twig

Is straight and slender, and as brown in hue

As hazel nuts and sweeter than the kernels.

Let me see thee walk. Thou dost not halt.

Where did you study all this goodly speech?
It is extempore, from my motherawit.
A witty mother, witness else her son.

Setting all this chat aside,

Thus in plain terms: your father hath consented
That you shall be my wife; your dowry'greed on;
And will you, nill you, I will marry you.

Now, Kate, I am.a.husband for your turn;

For by this light whereby I see thy beauty,

Thy beauty, that doth make me like thee well,
Thou must be married to no man but me;

(RE-ENTER BAPTISTA, GREMIO, AND TRANIo)

Baptista:
Petruchio:

Baptista;

For I am he born to tame you Kate,

And bring you from a wild Kate to a Kate
Comfortable as other household Katee.

Here comes your father. Never make denial;
I must and will have Katherine for my wife.

Now', Signior Petruchio, how speed you with
my daughter?

How but well, sir? How but well?
If it were impossible I should speed amiss.

How now, daughter Katherine?

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173

ACT II, Scene 1

Katherine:

Petruchio:

Katherine:

Gremio:

Tranio:

Petruchio:

P

Baptista:

Petruchio:

(mxsunr
Gremio: F’

Tranio:

Call you me daughter? Now I promise you
You have showed a tender fatherly regard,
To wish me wed to one half lunatic;

Father, 'tis thus; yourself and all the world,

That talked of her, have talked amiss of her.

And to conclude, we have 'greed so well
together,

That upon Sunday is the wedding day.

I'll see thee hanged on Sunday first.

Hark, Petruchio, she says she'll see thee
hanged first.

Is this your speeding?

Be patient, gentlemen; I choose her for myself.
If she and I be pleased, what‘s that to you?
'Tis a bargain twixt us two, being alone,

That she shall still be curst in company.

I tell you, 'tis incredible to believe

How much she loves me. 0, the kindest Kate!
She hung about my neck; and kiss on kiss

She vied so fast, protesting oath on oath,

That in a wink she won me to her love.

I know not what to say; but give me your hands.
God send you Joy, Petruchio! 'Tis a match.

Father, and wife, and gentlemen, adieu.

I will to Venice; Sunday comes apace.

We will have rings and things and fine array;
And kiss me Kate, we will be married on Sunday.

PETRUCHIO AND KAIHERINE...SEPARATELI)

Was ever match hatched up so suddenly?

But now Baptista, to your younger daughter.
NOW’iB the day we have long looked for.

I am your neighbor, and was suitor first.

And I am one that love Bianca more
Than words can witness, or your thoughts can

guess.
1‘ - .

.-

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ACT II, Scene 1

Baptista:

Gremio:

Tranio:

Gremio:
(nexus)

Content you, gentlemen; I will settle this
strife.

'Tis deeds can win the prize, and he

That can assure my daughter greatest dower

Shall have my Bianca's love.

Signior Gremio, what can you assure her?

First, as you know, my house within the city
Is richly furnished with plate and gold,
Basins and ewers to wash her dainty hands;
My hangings all of Syrian tapestry;

In ivory coffers I have stuffed.my crowns,
In cypress chests my tents and canopies,
Fine linen, Turkey cushions embossed with pearls,
Valance of Venice gold in needle work,
Pewter and brass and all things that belongs
To house or housekeeping. Then, at my farm
I have a hundred milk cows to the pail,

Six score fat oxen standing in my stalls,
And all things answerable to this portion.
Myself am struck in years, I must confess;
And if I die tomorrow, this is here,

If while I live she will be only mine.

That 'only' came in well. Sir, listen to me.

I am my father's heir and only son.

If I may have your daughter to my wife,

I'll leave her houses three or four as good,
Within rich Pisa walls, as any one

01d Signior Gremio has in Padua;

Besides two thousand ducats by the year

Of fruitful land, all which shall be her jointure.
What, have I pinched you, Signior Gremio?

Two thousand ducats by the year of land!

My lands amount not to so much in all.

(To TRANIO)

Tranio:

Nay, I have offered all, i have no more;
And she can have no more than all I have.
If you like me, she shall have me and mine.

Why, then the maid is mine from all the world,
By your promise; Gremio is out vied.

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I75

ACT II, Scene 1

Baptista:

Tranio:
Gremio:
Baptista:

I must confess your offer is the best;

And, let your father make her the assurance,

She is you own; else you must pardon me,

If you should die before him, where's her dower?

That's but a trifle. He is old, I young.
And may not young men die, as well as old?

Well, gentlemen,

I am thus resolved: on Sunday next you know
My daughter Katherine is to be married.

Now, on the Sunday following, shall Bianca
Be bride to you, if you make this assurance;
If not, to Signior Gremio.

And so I take my leave, and thank you both.

(EXIT smxsm)

Gremio:

(EXIT

Tranio:

Adieu, good neighbor. Now I fear thee not.
Sirrah, young gamester; your father were a fool
To give thee all, and in his waning age

Set foot under thy table.

GHEMIO)

A vengeance on your crafty withered hide!

'Tis in my head to do my master good.

I see no reason but supposed Lucentio

Most get a father, called “supposed Vincentio“;

And that's a wonder. Father commonly

Do get their children; but in this case of wooing

A child shall get a sire, if I fail not of my
cunning.

(EXIT mam)
(CURTAIN Lchoslzzs)

INTERHISSION

Work lights out

louse lights out

B38318 #1, 2 up

Bapt chan & int bkg up

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176

ACT III

Scene 1. Padua. Baptista's house

(CURTAIN) L. Fp
(ENTER LUCENTIO, HORTENSIO, AND BIANCA)

Lucentio:

Hortensio:

Lucentio:

Hortensio:

Bianca:

Hortensio:
Lucentio:
Bianca:

Lucentio:

Bianca:

Lucentio:

Fiddler, forbear; you grow too forward, sir.
Have you so soon forgot the entertainment
Her sister Katherine welcomed you here for?

But wrangling teacher, this is

The patroness of heavenly harmony.

Then give me leave to have prerogative;

And when in music we have spent an hour,
Your lecture shall have leisure for as much.

Then give me leave to read philosophy
And.while I pause, serve in your harmony.

Sirrah, I will not hear these boasts of thine.

Why, gentlemen, you do me double wrong

To strive for that which resteth in my choice.
I am no breeching scholar in the schools.

I‘ll not be tied down to hours or set times,
But learn my lessons as I please myself.

And, to cut off all strife, here sit we down;
Take you your instrument, play you the whiles;
His lecture will be done ere you have tuned.

You'll leave his lecture when I am in tune?
That will be never; tune your instrument.
Where left we last?

Here madam:
“Hie ibat Simois; his est Sigeia tellus;
Hic steterat Priami regia celsa senis.‘I

Construe them.

§;g_ibat, as I told you before, Simois, I am
Lucentio, fiig_§§§, son unto Vincentio of Pisa,
gageia tgllus, disguised thus to get you love;
gig_steterat, and that Lucentio that comes a-
wooing, Priami, is my man Tranio, regia, bearing
my port, celsa senis, that‘we might beguile the
old pantaloon.

 

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Act III Sc 1.

 

177

you go too forward, sir.“

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178

ACT III, Scene 1

Hortensio:
Bianca:
Lucentio:

Bianca:

Hortensio:
Lucentio:

Hortensio:

(ASIDE)

Bianca:
Lucentio:

Bianca:

Hortensio:

Madam, my instrument's in tune.
Let's hear. 0 fie! the treble Jars.
Spit in the hole, man, and tune again.

Now, let me see if I can construe it:

Bic ibat Simois, I know you not, hig_g§§_
Sigeia telluéé I trust you not; Hic steterat
Zriami, take heed he hear us not, e is,
presume not, cel§§_senis, despair not.

 

Madam, 'tis now in tune.
All but the base.

The base is right; 'tis the base knave that
Jars.

How fiery and forward our teacher is!
Now, for my life, the knave doth court my love;
Little teacher, I'll watch you better yet.

In time I may believe, yet I mistrust.

Mistrust it not;

I must believe, master; but, pray you, let it
rest.

Now, Licio, to you.

Good master, take it not unkindly, pray,

That I have been thus pleasant with you both.

(To LUCENTIO)

Lucentio:

(ASIDE)

You may go walk, and give me leave awhile.
My lessons make no music in three parts.

Are you so formal, sir? Well, I must wait,

And watch withal; for, if I'm not deceived,
Our fine musician grows more amorous.

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179

ACT III, Scene I

Hortensio:

Bianca:
Hortensio:

Bianca:
(nuns)

Madam, before you touch the instrument,
To learn the order of my fingering,

I must begin with rudiments of art;

To teach you gamut in a briefer sort
Than hath been taught by any of my trade;
And there it is in writing, fairly drawn.

Why, I am past my gamut long ago.
Yet read the gamut of Hortensio.

Gamut I am, the ground of all accord.
A 22, to plead.Hortensio's passion.
§_mi, Bianca, take him for thy lord,
9.33 gt, that loves with all affection.
2_§2;.r§, one clef, two notes have I.
g ]__._9_.. r_n_i_, show pity or I die.

Call you this gamut? Tut, I like it not:
Old fashions please me best; I am not so nice,
To change true rules for odd inventions.

(mess SERVANT)

Servant:

Bianca:

(mum

Lucentio:

Mistress, your father prays you leave your books
And help to dress your sister‘s chamber up.

You know tomorrow is the wedding day.

Farewell; sweet masters both; I must be gone.
BIANCA AND SERVANT)

Faith, mistress, then I have no cause to stay.

(Exrr LUCENTIO) P

Hortensio:

But I have cause to pry into this teacher.
Methinks he looks as though.he were in love;

Yet if thy thoughts, Bianca, be so humble
To cast thy wandering eye on every bait,

Take whom thou wilt. If once I find thee ranging
Hortensio will be quit with thee by changing.

(EXIT HORTENSIO) p

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180

Scene 2. Padua. Baptista's house.

..7\ (ENTER BAPTISTA, TRANIO, KATHERINE, BIANCA, LUCENTIO,
m; y AND OTHERS):3
Baptista: Signior Lucentio, this is the appointed day,

\ Katherine:
Tranio:

Katherine:

That Katherine and.Petruchio should be married,
And yet we hear not of our son-in-law.
What says Lucentio to this shame of ours?

No shame but mine. I must, forsooth, be forced
To give my hand opposed against my heart
Unto a mad brained fellow full of spleen,
Who wooed in haste and means to wed at leisure.

Patience, good Katherine, and Baptista too.
Upon my life, Petruchio means but well,

Though he be blunt, I know him passing well;
Though he be merry, yet withal he's honest.

Would Katherine had never seen him though.

3 (EXIT WEEPING FOLLOWED BY BIANCA AND OTHERS)

Baptista:

Poor girl, I cannot blame thee now to weep;
For such an injury would vex a saint.

(ENTER RIONDELLO)

Biondello:

i Baptista:
I Biondello:
Baptista:
I Biondello:
! Baptista:
Biondello;
H Baptista;
I Biondello:

Tranio:

Master, master! news and such old news as you
never hear of.

Is it new and old too? How may that be?

Why, is it not news to hear of Petruchio's coming?
Is he come?

Why, no, sire.

What then?

He is coming.

When will he be here?

When he stands where I am and sees you there.

But say, what to thine old news?

 

 

181

ACT III, Scene 2

Biondello: Why, Petruchio is coming in a new hat and an old
Jerkin; a pair of old breeches thrice turned;
a pair of boots that have been candle-cases, one
buckled and one tied; and old rust sword taken
out of the town armory with a broken hilt; his
horse fitted with an old mothy saddle and un-
matched stirrups.

Baptista: Who comes with him?

Biondello: O, sir, his lackey, for all the world fitted
like a horse; with a linen stock on one leg and
a Jersey boot hose on the other, gartered with
red and blue rags; a monster, a very monster
in apparel.

Tranio: 'Tis some odd humour clothes him in this fashion;
Yet oftentimes he goes but mean-apparelled.

(ENTER PETRUCHIO AND GRUMIO)
Petruchio: Come, where be these gallants? Who's at home?
Baptista: You are welcome, sir.
Petruchio: And yet I come not well.
BaPtista: And yet you halt not.

Tranio: Not so well apparelled
As I wish you were.

Petruchio: Were it better, I should rush in thus.
But where is Kate? Where is my lovely bride?
How does my father? Gentles, methinks you frown;
And wherefore gaze this goodly company.

Baptista; Why, sir, you know this is your wedding day.
First were we sad, fearing you would not come;
Sadder now that you come so unprovided.
Fie, doff this habit, shame to you estate,
An eye-sore to our solemn festival!

Tranio; And tell us, what occasion of import
Hath so long detained you from your wife,
And sent you to us so unlike yourself.

r‘

 

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182

ACT III, Scene 2

Petruchio:

Tranio:

Petruchio:
Baptista:
Petruchio:

(EXEUNT

Tranio:
Baptista:

(EXEUNT

Tranio:

Lucentio:

Tranio:

(ENTER

Gremio:

Be it enough, I come to keep my word.
But where is Kate? I stay too long from her.
The morning wears. 'Tis time we were at church.

See not your bride in these unreverent robes.
Go to my chamber; put on clothes of mine.

Not I, believe me; thus I'll visit her.
But thus, I trust, you will not marry her.

In truth, even thus; therefore, have done with
words.

To me she's married not unto my clothes.

But what a fool am I to chat with you,

When I should.bid good morrow to my bride,

And seal the title with a lovely kiss.

PETRUCHIO AND GRUMIO)

He hath some meaning in his mad attire.
We will persuade him, be it possible,
To put on better ere he go to churCh.

I'll go after him, and see the end of this.
BAPTISTA AND ATTENDANTs)

As I before imparted to your worship,

I am to get a man - whatever he be,

It means not much, we'll fit him to our turn,-
And he shall be Vincentio of Pisa;

And make assurances here in Padua

Of greater sums than I have promised.

So shall you quietly enjoy your hope

And marry sweet Bianca with consent.

Were it not that my fellow-schoolmaster
Doth watch Bianca‘s steps so narrowly,
'Twere good, methinks, to steal our marriage.

That by degrees we mean to look into,
And watch our advantage in this business.

GREMIO) L

Signior Gremio, came you from the church?

As willingly as ever I came from school.

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183

ACT III, Scene 2

Tranio:

Gremio:

Tranio:

Gremio:'

Tranio:

Gremio:

Tranio:

Gremio:

And is the bride and the bridegroom coming home?

A bridegroom, say? 'Tis a groom indeed,
A grumbling groom, and that the girl shall find.

More cursed than she? Why, 'tis impossible.
Why, he's a devil, a devil, a very fiend.
Why she's a devil, a devil, the devil's sister.

Tut, she's a lamb, a dove, a fool to him!

I'll tell you, Sir Lucentio, when the priest

Should ask, if Katherine should be his wife,

“Ay, by God's wounds,‘I quoth he; and swore so

” loud, A

That, all amazed, the priest let fall the book;

And as he stooped again to take it up,

The mad—brained bridegroom took him such a cuff

That down fell priest and book and book and
priest.

INowtake them.up,' quoth he, ”if any hear.“

What said the wench.when he rose again?
Trembled and shock; for why, he stamped and

swore
As if the vicar had meant to cheat him.

F; But after many ceremonies done,

He calls for wine. “A health,“ quoth he, as if

He'd been aboard, carousing to his mates

After a storm; drank off the muscatel,

And threw the drops all in the sexton's face.

This done, he took the bride about the neck

And kissed her lips with such a clamorous
smack

That at the parting all the church did echo.

And I seeing this, came thence for very shame,

And after me, I know, the crowd.is coming.

Such a mad marriage never was before.

Hark, hark! I hear the minstrels play.

(MUSIC PLAYS)

(RE—ENTER PETRUCHIO, KATHERINE, BIANCA, BAPTISTA,
HORTENsIO, GRUMIO AND TRAIN)

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184

ACT III, Scene 2

Petruchio:

Baptista:

Petruchio:

Tranio:

Petrudhio:
Gremio:

Petruchio:
Katherine:
Petruchio:
Katherine:
Petruchio:

Katherine:
Petruchio:
Grumio:

Katherine:

Gentlemen and friends, I thank you for your
pains.

I know you think to dine with me today,

And have prepared great store of wedding
cheer;

But so it is, my haste doth call me hence,

And therefore here I mean to take my leave.

Is't possible you will leave us tonight?

I must go away today, ere night come. I

You would not wonder, if you knew my business.
You would entreat me rather go than stay.

And, honest company, I thank you all

That have beheld me give myself away
To this most patient, sweet, and virtuous

wife.
Dine with my father, drink a.health to me,
For I must leave; and farewell to you all.

Let us entreat you stay till after dinner.
It may not be.

Let me entreat you.

It cannot be.

Let me entreat you.

I am content.

Are you content to stay?

I am.content you shall entreat me to stay;
But yet not stay, entreat me how you can.

Now, if you love me, stay.
Grumio, my horse.
Ay, sir, they be ready.

Nay, then,

Do what thou canst, I will not go today;

Nor tomorrow, no, not till I please myself.
The door is open, sir; there lies your way;
‘You may be Jogging while your boots are fresh.
For me, I'll not be gone till I please myself.

C

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185

\)

'Is't
possible you will leave us tonight?” Act III Sc 2

FIGURE ’40.

 

 

P Strike dagger

186

ACT III, Scene 2
Petruchio: 0 Kate, content thee; prithee, be not angry.

Katherine: I will be angry. What hast thou to do?
Father, be quiet; he shall stay my leisure.

Gremio: Ay, marry, air, now it begins to work.

Katherine: Gentlemen, forward to the bridal dinner.
I see a woman may be made a fool,
If she had not a spirit to resist. j

Petruchio: They shall go forward, Kate, at thy command. 3
Obey the bride, you that attend on her. 3
Be mad and merry, or go hang yourselves; :
But for my bonny Kate, she must with me.
She is my goods, my chattels; she is my house,
My field, my barn, my anything;
And here she stands, touch her whoever dare,
I'll bring mine action on the proudest one
Who stops my way in Padua. Grumio,
Draw forth. hy weapon, we are beset with
thieves;
Rescue thy mistress, if thou be a man.
Fear not sweet wench, they shall not
touch thee, Kate;
F: I'll fight for thee against a million.

(EXEUNT PETRUCHIO, KATHERINE AND GRUMIO)
Baptista: Nay, let them go, a couple of quiet ones.
Gremio: Went they not quickly, I should die with laughing.
Tranio: Of all mad matches, never was the like.
Lucentio: Mistress, what's your opinion of your sister?
Bianca: That, being mad herself, she's madly matched.
Gremio: I warrant him, Petruchio 1e Kated.
BaPtista: Neighbors and friends, though bride and
bridegroom wants ~
For to supply the places at the table,
You knoW'there wants no Junkets at the feast.
Lucentio, you shall supply the bridegroom's

place;
And let Bianca take her sister's seat.

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Strike wedding cake

2 hobby horses
Strike 2 hobby horses

m 111, Scene
Tranio: S}
Baptista: Si

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18?

ACT III, Scene 2
Tranio: Shall sweet Bianca practice how to bride it?
Baptista: She shall, Lucentio. Come, gentlemen, let's go.
(EXEUNT)
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188

ACT IV

Scene 1. Petruchio's country house

(OPEN CURTAIN) L if}. if

(ENTER GRUMIO )

Grumio: Fie, fie on all tired Jades, on all mad masters,
and all foul ways! Was ever man so beaten?
Was ever man so weary? I am sent before to
make a fire, and they are coming after to
warm them. Holla, ho! Cook.

(ENTER COOK)

Cook: Who is that calls so coldly?

Grumio: A piece of ice. A fire, good cook.

Cook: Is my master and.his wife coming, Grumio?

Grumio: O, ay, cook, ay; and therefore fire, fire;
cast on no water.

Cook: Is she so hot a shrew as she's reported?

Grumio: Aye, cook, aye. Is supper ready, the house
trimmed, rushes strewed, cobawebs swept; the
servingmen in their new livery, the white
stockings, and every officer his wedding garment
on?

Cook: All ready; and.therefore, I pray thee, news.

Grumio: First, know, my horse is tired; my master and
mistress fallen out.

Cook: How?

Grumio: Out of their saddles into the dirt; and.thereby
hangs a tale.

Cook: Let's have it, good Grumio.

Grumio: Now I begin: Imprimis, we came down a foul hill,
my master riding behind my mistress -

Cook: Both on one horse?

 

 

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189

ACT IV, Scene 1

Grumio: ‘What's that to thee?
Cook: Why, a horse.
Grumio: Tell thou the tale. But hadst thou not crossed me,

thou shouldst have heard how her horse fell and
she under her horse; thou shouldst have heard how
in a miry place, how she was befouled, how he
left her with the horse upon her, hOW'he beat me
because her horse stumbled, how she waded.through
the dirt to pluck him off me, hOW'he swore, hOW’
she prayed that never prayed before, how I cried,
how the horses ran away, how her bridle was burst,
how I lost my orupper.

Cook: By this reckoning he is more shrew than she.

Grumio: Ay; and that thou and the proudest of you all shall
find.when he comes home. But what talk I of this?
Call fortthosepha, Nicholas, Philip, Natalia,
Walter, Sugarsop and the rest.

Cook: Do you hear, ho? Yen must meet my master to
honor my mistress.

(ENTER NATALIA.AND JOSEPHA)
Natalia: Welcome home, Grumio.

Grumio: Welcome, you; now, my spruce companions, is all
ready, and all things neat?

Natalia: All things are ready. How near is our master?

Grumio: Even at hand, alighted by this; and therefore be

not - silence! I hear my master.
(ENTER PETRUCHIO AND KATHERINE)

Petruchio: Where be these knayes? What, no man at door
To hold my stirrup or take my horse!
Where is Natalia, Josepha?

All: Here, here, sir; here sir.

Petruchio: Here, sir! here, sir! here, sir! here, sir!
You logger—headed and unpolished grooms!
What, no attendance! No regard? No duty?
Where is the foolish.knaye I sent before?

—.

 

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P Dishes and cups
Ham on platter

P Bowl and towel

 

 

190

ACT IV, Scene 1

Grumio:

Petruchio:

Grumio:

Petruchio:

Here, sir; as foolish as I was before.

Did I not bid thee meet me in the park,
And bring along these rascal knaves with thee?

There were none fine but Natalia and Josepha;
The rest were ragged, old, and beggarly;
Yet, as they are, here are they come to meet you.

Go, rascals, go, and fetch my supper in.l

(EXEUNT SERVANTS)
(sINGING)

“Where is the life that late I led“ -
Where are those - Sit down, Kate, and welcome. -

(RE-ENTER SERVANT 3 WITH SUPPER) P

Why, when, I say? - Nay, good sweet Kate be merry. é
Off with my boots, you rogues. You villains, when?

( SINGING)

“It was the friars or orders grey,

As he forth.walked on his'way:' —

Out, you rogue! you pluck my root awry.

Take that, and mend the plucking or! the other.

(smes HIE). ';

Be merry, Kate. - Some water, here; what, ho!

(ENTER JOSEPHA)F7

Where's my spaniel Troilus? Sirrah, get you hence,

And bid my cousin Ferdinand come hither;

One, Kate, that you must kiss, and be acquainted
with.

Where are my slippers? Shall I have some water?

Come, Kate, and wash, and welcome heartily.

You troublesome villain. Will you let it fall?

(srmxss JOSEPHA)

Katherine :

Patience, I pray you; 'twas a fault unwilling.

 

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P Strike bowl and towel
' Strike ham on platter
Strike dishes and cups

 

191

ACT IV, Scene I

Petruchio:

Natalia:
Petruchio:
Natalia:

Petruchio:

(THROWS

Katherine:

Petruchio:

(EXEUNT)

A troublesome, beetle-headed, flap eared knave.
Come, Kate, sit down; I know you have a stomach.
Will you give thanks, sweet Kate? or else shall I?
What's this? Hutton?

Ay.
Who bmought it?
I.

‘Tis burnt; and so is all the meat.

What dogs are these? Where is the rascal cook?
How dare you, villains, bring it from the kitchen,
And serve it to me thus that love it not?

There, take it to you, trenchers, cups, and all.

THE MEAT ETC. UPON THE STAGE)

You heedless Joltheads and unmannered slaves!
What, do you grumble? I'll be with you straight.

I pray you, husband, be not so disquiet.
The meat was well if you were so contented.

I tell you, Kate, 'twas burnt and dried away,
And I expressly am forbid to touch it,

And better ‘twere that both of us did fast.

Be patient; tomorrow shall be mended,

And, for this night, we'll fast for company.
Come, I will bring thee to thy bridal chamber.

(RE-ENTER SERVANTS)

Natalia:
Josepha:

Josepha, didst ever see the like?

He kills her in her own humor.

(REQENTER COOK)

Grumio:
Cook:

P

Where is he?

In her chamber, making a sermon faithfulness to her;

And rails and swears, and rates, that she, poor
soul

Knows not which way to stand, to look, to speak,

And site as one new—risen from a dream,
Away, away! for he is coming hither.

(EXEUNT )

‘1.

 

 

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FIGNHE 41. "Who brought it?“ Act IV 5,, 1,
Josepha Natalia Katherine Cook Petruchio

Grumio

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Beams #1, 2, 4 up
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~ Strike stools #1, 2

193

ACT IV, Scene 1
(RE-ENTER PETRUCHIO)

Petruchio:

(EXIT)

Thus have I carefully begun my reign,

And 'tis my hOpe to end successfully.

My falcon now is sharp and.passing empty;

She eat no meat today, and none shall eat;

Last night she slept not, nor tonight she shall not;
As with the meat, some undeserved fault

I'll find about the making of the bed.

And here I'll fling the pillow, there the bolster,
This way the coverlet, another way the sheets.
And in conclusion, she shall watch all night;

And if she chance to nod, I'll rail and brawl
And.with the clamour keep her still awake.

This is a way to kill a wife with kindness,

And thus I'll curb her mad and headstrong temper.

*‘- 2"“
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Scene 2. Padua. Before Baptista's house

(ENTER TRANIO AS LUCENTIO AND LICIO PLAYED BY HORIENSIO)

Tranio:

Hortensio:

Is't possible, friend Licio, that Mistress Bianca

Doth fancy any other but Lucentio?
I tell you, sir, she bears me fair in hand.

Sir, to satisfy you in what I have said,
Stand by and.mark the manner of his teaching.

(ENTER BIANCA AND LUCENTIO AS GANBIo)

Lucentio:
Bianca:
Lucentio:
Bianca:

Lucentio:

Hortensio:

Now, Mistress, profit you in what you read?
What, master, read you? First resolve me that.
I read what I profess, the Art of Love.

And may you prove, sir, master of your art.

While you, sweet dear, prove mistress of my heart.

Quick proceeders, marry! Now tell me, I pray,
You that durst swear that your mistress, Bianca,
Loved none in the world so well as Lucentio.

 

AIL

 

 

 

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194

,ACT IV, Scene 2

Tranio:

Hortensio:

Tranio:

Tranio:

Hortensio:

O despitful love! Unconstant womankind!
I tell thee, Licio, this is wonderful.

Mistake no more; I am not Licio,
Nor a musician, as I seem to be;
Know, sir, that I am called Hortensio.

Signior Hortensio, I have often heard

Of you entire affection to Bianca;

And since mine eyes are witness of her lightness,
I will with you, if you be so contented,

Forswear Bianca and her love for ever.

And here I take the like unfeigned oath,
Never to marry with her though she would entreat.

For me, that I may surely keep mine oath,

I will be married to a wealthy widow,

Ere three days pass, who hath as long loved me
As I have loved this proud disdainful haggard.
And so farewell, Signior Lucentio.

Kindness in women, not their beauteous looks,
Shall win my love; and so I take my leave,

In resolution as I swore before.

(EXIT HORTENSIO)

Tranio:

Bianca:
Tranio:
Lucentio:

Tranio:

Bianca:
Tranio:
Bianca:

Tranio:

Mistress Bianca, bless you with such grace

As belongeth to a lover's bless'd case!

I have forsworn you with Hortensio.

Tranio, you Jest; but have you both forsworn me?
Mistress, we have.

Then we are rid of Licio.

I'faith, he'll have a lust widow now,
That shall be woo'd and wedded in a day.

God give him Joy.
Ay, and he'll tame her.
He says so, Tranio.

Faith, he is gone into the taming school.

W ‘7’-1—7

J

 

 

195

ACT IV, Scene 2
Bianca: The taming school? What, is there such a place?

Tranio: Ay, mistress, and Petruchio is the master;
That teacheth tricks eleven and twenty long,
To tame a shrew and charm her chattering tongue.

(ENTER BIONDELLO)

Biondello: 0 master, master, I have watched so long
That I am dog—weary; but at last I spied
An ancient angel coming down the hill,
Will serve the turn.

(EXEUNT LUCENTIO AND BIANCA)
Tranio: What is he, Biondello?
Biondello: Master, a merchant, or a stately priest
I know not what; but formal in apparel,
In walk and countenance surely like a father.
Tranio: If he be credulous and trust my tale,
I'll make him glad to seem Vincentio,
And give assurance to Baptista Minola,
As if he were the right Vincentio.
(ENTER A PEDANT)
Pedant: God says you, sir.

Tranio: And you, sir, you are welcome.
Travel you faron, or are you at the farthest?

Pedant: Sir, at the farthest for a week or two;
But then up farther, and as far as Rome;
And so to Tripoli, if God lend me life.

Tranio: What country, man, I pray?
Pedant: Cf Mantua.
Tranio: Of Mantua, Sir? Marry, God forbid.

And come to Padua, careless of your life?

Pedant: My life, sir! How, I pray? for that goes hard.

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ACT IV, Scene 2

Tranio:

Pedant:

Tranio:

Pedant:

Tranio:

Pedant:
Tranio:

Biondello:
(ASIDE)

Tranio:

Pedant:

Tranio:

(EXEUNT )

'Tis death for any one in Mantaua

To come to Padua. Know you not the cause?
Your ships are stayed at Venice, and the Duke
For private quarrel 'twixt your Duke and him,
Hath published and proclaimed it openly.

Alas! sir, it is worse for me than so;
For I have bills for money by exchange
From Florence, and must here deliver them.

Well, sir, to do you courtesy,
This will I do, and this I will advise you.
First, tell me, have you ever been at Pisa?

Ay, sir, in Pisa have I often been,
Pisa renowned for grave citizens.

Among them know you one Vincentio?

I know him not, but I have heard of him;
A merchant of incomparable wealth.

He is my father, sir; and truth to say,
In countenance some doth resemble you.

AS much as an apple doth an oyster, and all one.

To save your life in this extremity,

This favor will I do you for his sake;

His name and credit shall you undertake,

And in my house you shall be friendly lodged.
Till you have done your business in the city.
If this be courtesy, sir, accept it.

0 air, I do; and.will call you forever
The patron of my life and liberty.

Then go with me to make the matter good;
This, by the way, I let you understand;

My father is here looked for every day,

To pass assurance of a dower in marriage
'Twixt me and one Baptista's daughter here.
In these circumstances I'll instruct you
Go with me to clothe you as becomes you.

 

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197
L_€3¥:F7 Scene 3. A room in Petruchio's house.
(INTER KATHERINE AND GRUMIO)
Grumio: No, no, forsooth: I dare not for my life.
Katherine: What, did he marry me to famish me?
But I, who never knew how to entreat,
Nor never needed that I should entreat,
Am starved for meat, giddy for lack of sleep,
With oaths kept waking, and with brawling fed;
He does it under name of perfect love,
I prithee go and get me some repast;
I care not what, so it be wholesome food.
Grumio: What say you to an oxen's foot?
Katherine: 'Tis passing good; I prithee let me have it.

Grumio: I fear it is too fat a meat.
low say you to a fat tripe finely boiled?

Katherine: I like it well; good Grumio, fetch it me.

Grumio: I cannot tell; I fear it is too rich.
What say you to a piece of fine beef and mustard?

Katherine: A dish that I do love to feed upon.
Grumio: Ay, but the mustard is too hot a little.
Katherine: Why then, let the beef and mustard rest.

Grumio: Nay then, I will not; you shall have the mustard,
Or else you get no beef from Grumio.

Katherine: Then both, or one, or anything thou wilt.
Grumio: Why then, the mustard without the beef.
Katherine: Go, get thee gone, thou false deluding slave.
(sun BEATS 11114)]?
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Petruchio: How fares my Kate? What, sweet, all unhappy?
Hortensio: Mistress, what cheer?

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198

ACT IV, Scene 3

Katherine:
Petruchio:

Katherine;

Petruchio:

Katherine;

Hortensio:

Petruchio:

Faith, as cold as can be.

Pluck up thy spirits; look cheerfully upon me.
Here, love, thou see'st how diligent I am

To dress thy meat myself, and bring it thee.

I am sure, sweet Kate, this kindness merits thanks.
What, not a word? Nay, then thou lov'st it not;
And all my pains is sorted to no proof.

Here take away this dish.

I pray you, let it stand.

The poorest service is repaid with thanks,
And so shall mine, before you touch the meat.

I thank you sir.

Signior Petruchio, fie! you are to blame.
Come , Mistress Kate, I'll bear you company.

(Asxnr)

lat it up all, Hortensio, if thou lovest me.

Much good do it unto thy gentle heart!

Kate,.eat space. And now my honey love,

Will we return unto thy father's house

And revel it as bravely as the best,

With silken coats and caps and golden rings,

With ruffs and cuffs and farthingales and things,

With scarfs and fans and double change of bravery,

With amber bracelets, beads, and all this knavery.

What hast thou dined? The dressmaker stays thy
leisure,

To deck thy body with her ruffling treasure.

(INTER DRESSMAKIR) P

Come, dressmaker, let us see these ornaments;
Lay forth the gown.

(INTER MILLINIZR) P

.Milliner:
Petruchio:

What news with you sir?
Here is the cap your master did bespeak.
Why, this was moulded on a porringer;

A velvet dish. Fie, fie! 'tis vile and filthy.
Away with it! come, let me have a bigger.

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199

ACT IV, Scene 3

Katherine:

Petruchio:

Hortensio:

Katherine:

Petruchio:

Katherine:

I'll have no bigger; this does fit the time.
And gentlewomen wear such caps as these.

When you are gentle, you shall have one too,
And not till then.

(ASIDE) That will not be in haste.

Why, sir, I trust I may have leave to speak;
And speak I will. I am no child, no babe.

Why, thou say'st true; it is a paltry cap,
A custard-coffin, a bauble, a silken pie.
I love thee well in that thou likest it not.

Love me or love me not, I like the cap;
And I will have it or I will have none.

(EXIT MILLINIR) P

Petruchio:

Hortensio:

Dressmaker:

Petruchio:

Katherine:

Petruchio:

Dressmaker:

Petruchio:

Thy gown? Why, ay. Come, dressmaker, let us see it.
What's this? A sleeve? 'Tis like a little cannon.
What, up and down, carved like an apple-tart?
Here's snip and nip and cut and slish and slash,
Like to a censer in a barber's shop.

Why, what in the devil's name, call you this?

(ASIDE)
I see she's like to have neither cap nor gown.

You bid me make it orderly and well,
According to the fashion of the time.

Marry, and did; but if you be remembered,
I did not bid you mar it tO'mhe time.
I'll none of it. Hence! make your best of it.

I never saw a better-fashioned gown,

More quaint, more pleasing, nor more commendable.
Belike you mean to make a puppet of me.

Why, true; he means to make a puppet of her.

She says your worship means to make a puppet of her.
0 monstrous arrogance: Thou liest, thou thread,

thou nimble.
I tell thee, I, that thou hast marred her gown.

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200

FIIURE 42. "Why, what in the devil's name call you this?“
Act IV is 3. Milliner Dressmaker Hortensio ,PetruchiO‘Katherine

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ACT IV, Scene 3

Dressmaker: Your 1
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(EXEUNT) L E

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201

ACT IV, Scene 3

Dressmaker: Your worship is deceived; the gown is made
Just as my master had direction.

Petruchio:
(ASIDE) Hortensio, say thou wilt see the dressmaker paid. -
Go take it hence; be gone, and say no more.

Hortensio: Dressmaker, I'll pay thee for thy gown tomorrow; ,
Take no unkindness of his hasty words. 3
Away! I say; commend me to thy master. ‘

(EXIT THE DRESSMAKER) P

Petruchio: Come, my sweet Kate; we will unto your father's
Even in these honest mean habiliments.
Our purses shall be proud, our garments poor,
For 'tis the mind that makes the body rich.
We will hence forthwith to thy father's house
To feast and sport us in such merriment.
Go, call my men, and let us straight unto him,
And bring our horses unto Long-lane end.
There we will mount, and thither walk on foot.
Let's see; I think 'tis now some seven o'clock,
And well we may come there by dinner-time.

Katherine: I dare assure you, sir, 'tis almost two;
And 'twill be supper-time ere you come there. ,

Petruchio: It shall be seven ere I go to horse.
Look, what I speak, or do, or think to do,
You are still crossing it. Sire, let't alone,
I will not go today, and are I do,
It shall be what o'clock I say it is.

Hortensio:
(ASIDE) Why, so this gallant will command the sun.

(EXEUNT)L5FP

Scene h. Padua. Before Baptista's house.
(ENTER TRANIO AND THE PEDANT DRESSED AS VINCENTIO)
Tranio: Sir, this is the house; please it you that I call?

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Baptista:

 

202

ACT IV, Scene 4

Pedant:

Tranio:

Ay, what else? And, but I be deceived,
Signior Baptista may remember me,‘
Near twenty years ago, in Genoa,

Where we were lodgers at the Pegasus.

'Tis well; and hold your own, in any case,
With.such dignity as belongeth to a father.

(ENTER.BIONDELLO)

Pedant:

Tranio:

Biondello:
Tranio:

Biondello:

Tranio:

I warrant you. But, sir, here comes your boy;
'Twere good he were schooled.

Fear you not him. Sirrah Biondello,

Now do your duty thoroughly, I advise you.
Imagine 'twere the right Vincentio.

Tut, fear not me.

But hast thou done thy errant to Baptista?

I told.him that your father was at Venice,
And that you looked for him this day at Padua.

Here comes Baptista, set your countenance, sir.

(ENTER BAPTISTA AND LUCENTIO)

Pedant:

Baptista:

Signior Baptista, you are happily met.
Sir, this is the gentleman I told you of.
I pray you, stand good father to me now,
Give me Bianca for my patrimony.

Soft, son! .
Sir, by your leave, having come to Padua
To gather in some debts, my son Lucentio
Made me acquainted with.a worthy cause

or love between your daughter and himself;
And for the good report I hear of you,
And for the love he beareth your daughter
And she to him, to stay him not too long,
I am content to have him matched.

Sir, pardon me in what I have to say.

Your plainnes and your shortness please me well.
Right true it is, your son Lucentio here

Doth love my daughter and she loveth him.

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ACT IV, Scene L,

Baptista:

(Continued) And
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And
The
You:

Tranio: I t‘r
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As 1

Baptista: Not
Pit:
Bes:
And
Tranio: The:
The
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BaP‘cista: I 1

Sig:
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(EXIT ALL)
(RE-ENTER L
Biondello:
memo;
51011619110;

 

203

ACT IV, Scene b

Baptista:

(Continued) And therefore, if you say no more than this,
That like a father you will deal With him
And pass my daughter as sufficient dower,
The match is made, and all is done.
Your son shall have my daughter with consent.

Tranio: I thank you, sir. Where then do you know best
We be betrothed and such assurance taken
As shall with either part's agreement stand?
Baptista: Not in my house, Lucentio; for, you know,
Pitchers have ears, and I have many servants;
Besides, old Gremio is harkening still,
And happily we might be interrupted.
Tranio: Then at my lodging, an it like you.
There doth my father lie; and there, this night,
We'll pass the business privately and.well.
Baptista: I like it well. Cambio, hie you home,
And bid Bianca make her ready straight;
And, if you will, tell what hath happened:

Lucentio's father is arrived in Padua, .
And how she's like to be Lucentio's wife.

(EXIT LUCENTIO)
Biondello: I pray the gods she may with.all my heart.
Tranio: Dally not with the gods, but get thee gone.

(EXIT BIONDELLO)

Signior Baptista, shall I lead the way?

Baptista: I will follow you.

(sxlr ALL)

(BE-ENTER LUCENTIO AND BIONDELLo)
Biondello: Cambio!
I«1166111510: What say'st thou, Biondello?
B10115.3110: You saw my master wink and laugh upon you?

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20“

ACT IV, Scene A

Lucentio:

Biondello:

Lucentio:

Biondello:

Lucentio:
Biondello:
Lucentio:

Biondello:

Lucentio:

Biondello:

Lucentio:

Biondello:

Biondello, what of that?

Faith, nothing; but he has left me here behind, to
expound the meaning or moral of his signs and
tokens.

I pray thee, moralize them.

Then thus. Baptista is safe, talking with the
deceiving father of a deceitful son.

And.what of him?
His daughter is to be brought by you to the supper.
And then?

The old priest at Saint Luke's church is at
your command at all hours.

And.what of all this?

I cannot tell. To the church. Take the priest,
clerk, and some sufficient honest witnesses.

If this be not that you look for, I have no
more to say,

But bid Bianca farewell forever and a day.

Hear'st thou, Biondello?

I cannot tarry. I knew a wench married in an
afternoon as she went to the garden for
parsley to stuff a rabbit, and so may you,
sir; and so, adieu, sir. My master hath
appointed me to go to Saint Luke's, to bid
the priest be ready to come and Join you
and your Wife e

(EXIT BIONDEILO)

Lucentio:

I may, and will, if she be so contented.
She will be pleased; then wherefore should I doubt?

(ExlT LUCENTIO) L
(CLOSE ACT CURTAIN)

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205

Scene 5. A public road.

(ENTER PETRUCHIO, KATHERINE, HORTENSIO, sumo)

Petruchio:

Katherine:
Petruchio:
Katherine:

Petruchio:

Hortensio:

Katherine:

Petruchio:
Katherine:
Petruchio:

Katherine:

Hortensio:

Petruchio:

Come, in heaven's name; once more toward our

father's.
Good lord, how bright and goodly shines the moon!

The moon! the sun. It is not moonlight now.

I say it is the moon that shines so bright. !
I know it is the sun that shines so bright. I
Now, by my mother's son, and that's myself,
It shall be moon, or star, or what I say,
Or ere I Journey to your father's house. - ' 1
Go on, and fetch our horses back again. - ”‘"
Evermore crossed and crossed, nothing but crossed.

Say as he says, or we shall never go.

Forward, I pray, since we have come so far,

And be it moon, or sun, or what you please,
Henceforth I vow it shall be so for me.

I say it is the moon.

I know it is the moon.

Nay, then you lie; it is the blessed sun.
Then, God be blessed, it is the sun;

But sun it is not, when you say it is not;
And the moon changes even as your mind.

What you will have it named, even that it is.
Petruchio, go thy ways; the field is won.

Well, forward! forward! thus the bowl should run,
But, soft! company is coming here.

(ENTER VINCENTIO) L

Petruchio:

Good morrow, old grandsire, and make known
which.way thou travelest. If along with us,
We shall be Joyful of thy company.

 

206

FIGURE 43. ”We shall be Joyful of thy company.“ Act IV Sc 5,
Vincentio Petruchio Katherine Grumio o o: .

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207

ACT IV, Scene 5

Vincentio:

Petruchio:
Vincentio:

Petruchio:

Vincentio:

Hortensio:
Petruchio:
(EXEUNT

Hortensio:

Fair sir, and you my pretty mistress,

My name is called Vincentio; my dwelling Pisa;
And bound I am to Padua, there to visit

A son of mine, which long I have not seen.

What is his name?
Lucentio, gentle sir.

Happily met; the happier for thy son.

The sister to my wife, this gentlewoman,
Thy son by this hath married. Wonder not,
Nor be not grieved; she is of good esteem,
Her dowry wealthy, and of worthy birth.
Let me embrace with old Vincentio,

And wander we to see thy honest son,

Who will of thy arrival be full Joyous.

But is this true, or isit else your pleasure,
Like pleasant travelers, to break a Jest
Upon the company you overtake?

I do assure thee father, so it is.

Come, go along, and see the truth yourself.
ALL BUT HORTENSIO)

Well, Petruchio, this has put me in heart.

Now to my widow, and if she be forward,
Then hast thou taught Hortensio to be unyielding.

(EXIT HORTENSIO) L?

INTERMISSION

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House lights out

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208

ACT V
La Scene 1. Padua. Before Lucentio's house.

(ENTER BIONDELLO, LUCINTIO, AND BIANCA. CREMIO IS
OUT BEFORE)

Biondello: Softly and swiftly, sir; for the priest is ready.

Lucentio: I fly, Biondello; but they may chance to need
thee at home, therefore leave us.

(IXEUNT LUCENTIO AND BIANCA)

Biondello: Nay, faith, I'll see you married; and then
come back as soon as I can.

(IXIT BIONDELLO)

Gremio: I marvel Cambio comes not all this while.
(ENTER KATHERINE, PETRUCHIO, VINCENTIC, AND CRUMIo)
Petruchio: Sir, here's the door, this is Lucentio's house.

My father's lies more toward the marketplace;

There must I go, and here I leave you, sir.

Vincentio: You shall not choose but drink before you go.
I think I shall command you welcome here.

(KNOCKS)
Cremio: They're busy within; you were best knock louder.
(PEDANT LOOKS OUT OF WINDOW)
Pedant: What's he that knocks as he would beat down the gate?
Vincentio: Is Signior Lucentio within, sir?
Pedant: He's within, sir, but not to be spoken withal.

Vincentio: What if a man bring him a hundred pound or two,
to amke merry withal?

‘Pedant: Keep your hundred pounds to yourself; he shall

need none, so long as I live.

| IIII.H.I

 

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209

. FIGURE 44. "What's he that knocks as hard as he would
I beat down the gate?" Act V Sc 1.
Vincentio Officer Pedant Petruchio Katherine Gremio Grumio.

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210

ACT V, Scene 1

Petruchio: Nay, I told you your son was well beloved in
Padua. Do you hear, sir? I pray you, tell
Signior Lucentio that his father is come from
Pisa and is here at the door to speak with
him.

Pedant: Thou liest. His father is come from Padua and is
here looking out of the window.

Vincentio: Art thou his father?
Pedant: Ay, sir.

Petruchio:
(To VINCENTIO)

Why, how now, gentleman! Why, this is flat knavery,
to take upon you another man's name.

Pedant: Lay hands on the villain. I believe he means to
cheat somebody in this city under my name.

(RE—ENTER BI 0NDEILLO)

Biondello: I have seen them in the church together; but who is
here? Mine old master Vincentio! Now we are
undone and brought to nothing.

Vincent io :
(SEEING BIONDELLO)

Come here, you rascal.
Come hither, you rogue. What, have you forgot me?

Biondello: Forgot you? No, sir; I could not forget you, for
I have never seen you before in all my life.

Vincentio: What, you notorious villain, didst thou never see
thy master's father, Vincentio?

Biondello: What, my worshipful old master? Yes, indeed, sir;
see there he looks out of the window.

Vincentio: Is't so, indeed?
(VINCENTIO BEATS BIONDELLo)

 

1.17

211

ACT V, Scene 1
Biondello: Help, help, help! Here's a madman will murder me.
Pedant: Help, son! help, Signior Baptista!

(PEDANT VANISHES FROM WINDOW)

Petruchio: Pray thee, Katherine, let's stand aside and see the
end of this controversy.

(THEY'RETIRE)
(REeENTER PEDANT, BELOW, TRANIO, BAPTISTA)
Tranio: Sir, what are you that offer to beat my servant?

Vincentio: What am I, sir? Nay, what are you, sir? O
immortal gods! 0 fine villain! A silken
doublet! Velvet hose! a scarlet cloak! O
I am undone! I am undone! While I play the
good father at home, my son and my servant
spend all at the university!

Tranio: How, now! what's the matter?
Baptista: What, is the man a lunatic?)

Tranio: Sir, you seem a sober ancient gentleman by your
habit, but your words show you a madman. Why,
sir, concerns it you if I wear pearl and gold?

I thank my good father, I am able to maintain it.

Vincentio: Thy father! 0 villain, he is a sailmaker in
Bergamo.

Baptista: You mistake, sir; you mistake, sir. Pray, what
do you think is his name?

Vincentio: His name? as if I knew not his name! I have
brought him.up ever since he was three years
old, and his name is Tranio.

Pedant: Away, away, mad fool! his name is Lucentio; and
he is mine only son, and heir to.the lands of
me, Signior Vincentio.

~

.—

212

ACT V, Scene 1

Vincentio: Lucentio! 0, he hath murdered his master! Lay
hold on him, I charge you, in the Duke's name.
0 my son! my son! Tell me, thou villain, where
is my son Lucentio?

Tranio: Call forth an officer.

(ENTER ONE WITH AN OFFICER)
Carry this mad knave to the Jail.

Vincentio: Carry me to the Jail?

Gremio: Stay, officer; he shall not go to prison.

Baptista: Talk not, Signior Gremio; I say he shall go to
prison. .

Gremio: Take heed, Signior Baptista, lest you be fooled
in this business. I dare swear this is the right
Vincentio.

Baptista: Away with the dotard! To the Jail with.him.
(RE-ENTER BIONDELLO WITH LUCENTIO AND BIANCA)

Vincentio: This strangers may be hailed and abused, O
monstrous villain!

Biondello: O! we are spoiled and 9 yonder he is.
Deny him, forswear him, or else we are all undone.

(ExEUNT BIONDELLO, TRANIO, ANDPEDANT AS FAST AS MAY BE)

Lucentio:
(KNEELING)

Pardon, sweet father.
Vincentio: Lives my sweet son?
Bianca: Pardon, dear father.
Baptista: How hast thou offended? Where is Lucentio?
Lucentio: Here's Lucentio,

Right son to the right Vincentio,
That have by marriage made thy daughter mine.

{ ' l

213

ACT V, Scene 1

Vincentio:

Baptista:
Bianca:

Lucentio:

Vincentio:

Baptista:

Vincentio:

Baptista:

Where is that damned villain Tranio,
That faced and braved me in this matter so?

Why, tell me, is not this my Cambio?
Cambio is changed into Lucentio.

Love wrought these miracles. Bianca's love
Made be exchange my place with Tranio,

While he did bear my countenance in the town.
And happily I have arrived at last

Unto the wished haven of my bliss.

What Tranio did, myself forced him to;

Then, pardon him, sweet father, for my sake.

I'll slit the villain's nose, he would have
sent me to Jail.

But do you hear, sir? Have you married my daughter
without asking my good will?

Fear not, Baptista; we will content you, go to;
but I will be revenged for this villainy.

And I, to sound the depths of this knavery.

(EXIT VINCENTIO FOLLOWED BY BAPTISTA.AND GREMIO)

Lucentio:

Look not pale, Bianca; thy father will not frown.

(EXIT LUCENTIO AND BIANCA)

Katherine:
Petruchio:
Katherine:
Petruchio:
Katherine:

Petruchio:

Katherine:

Petruchio:

Husband, let's follow, to see the end of this.
First kiss me, Kate, and we will.

What, in the midst of the street?

Art thou ashamed of me?

No, sir, God forbid; but ashamed to kiss.

Why, then, let's home again. Come, let's away.

NaY, I will give thee a kiss; now, pray thee, love,
stay.

Is not this well? Come sweet Kate;
Better once than never, for never too late.

 

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Floods X, Y, 2 out
Bapt ext bkg out
Luc Nor int bkg out
Stat out

Beams #1, 2 out
Spots #4, 5 out

#3 Pull out flood.X

‘” Remove stage brace
Pull back Pet house unit
Open wall of Pet house
Open wall of Luc house

F Long table
Long bench
Stools #1, 2, 3, and 4

Floral centerpiece
Pitchers and goblets

 

 

 

 

I Cf.‘

214

LEE? Scene 2. Padua. Lucentio's house

(ENTER BAPTISTA, VINCENTIO, GREMIO, PEDANT, LUCENTIO,
BIANCA, KATHERINE, PETRUCHIO, HORTENSIO, THE WIDOW,
TRANIO, BIONDELLO, GRUMIO; THE SERVINGMEN WITH TRANIO
BRINGING IN A BANQUET)

Lucentio:

Petruchio:
Baptista:
Petruchio:

Hortensio:

Petruchio:
Widow:

Petruchio:

Widow:

Katherine:

Widow:

Katherine:
‘Widowc

Katherine:
Petruchio:

Hortensio:

At last, though long, our Jarring notes agree.
My fair Bianca, bid my father welcome,

While I with self-same kindness welcome thine.
Brother Petruchio, sister Katherine,

And thou, Hortensio, with thy loving widow,
Feast with the best, and wecome to my house.

Our banquet is to close our stomachs up,

After our great good cheer. Pray you, sit down;
For now we sit to chat as well as eat.

Nothing but sit and sit, and eat and eat.

Padua affords this kindness, son Petruchio.
Padua affords nothings, but what is kind.

For both.our sakes, I would that word.were true.
Now, for my life, Hortensio fears his widow;
Then never trust me, if I be afeared.

You are very sensible, and yet you miss my sense.
I mean, Hortensio is afeared of you.

He that is giddy thinks the world turns round.

'He that is giddy thinks the world turns round":
I pray you, tell me what you mean by that.

Your husband, being troubled.with a shrew,
Measures my husband's sorrow by his woe:
And now you know my meaning.

A very mean meaning.

Right, I mean you.

And I am mean, indeed, respecting you.

To her, Kate!

To her, widow!

(EXEUNT KATHERINE. WIDOW, BIANCA)

 

l

215

ACT V, Scene 2

Petruchio:
Baptista:
Gremio:
Baptista:

Petruchio:

Hortensio:
Lucentio:

Petruchio:

Lucentio:

Hortensio:
Petruchio:
Hortensio:

Lucentio:

Bi ondello:

A hundred marks, my Kate does put her down.
How likes Gremio these quick—witted folks?
Believe me, sir, they fit well together.

Now, in good sadness, Petruchio, son,
I think thou hast the veriest shrew of all.

Well, I say no; and therefore for assurance
Let's each one send.unto his wife,

And.he whose wife is most obedient

To come at first when he doth send for her,
Shall win the wager which we will propose.
Content. What is the wager?

Twenty crowns.

Twenty crowns!

I'll venture so much on my hawk or hound,
but twenty times so much on my wife.
A.hundred then.

Content.

A match. 'Tis done.

Who shall begin?

That will I.
Go, Biondello, bid your mistress come to me.

I go.

(mm BI onnmo)

Bapti sta:

Lucentio:

Son, I'll be your half; Bianca comes.

I'll have no halves; I'll bear it all myself.

(RE-ENTER BIONDELLo)

Bionde 110:

How, now! What news?

Sir. my mistress sends you word
That she is busy and she cannot come.

216

.ACT V, Scene 2

Petruchio:

Gremio:

Petruchio:

Hortensio:

How! she is busy and she cannot come!
Is that an answer?

Ay, and a kind.one too.
Pray God, sir, your wife sends you not a.worse.

I hope, better.

Sirrah Biondello, go and entrat my wife
To come to me forthwith.

(EXIT BIONDELLO)

JPetruchio:

Ifiortensio:

0, ho! entreat her!
Nay, then she must needs come.

I am afraid, sir,
Do what you can, yours will not be entreated.

(RE-ENTER.BIONDELLO)

Now, where's my wife?

IBiondello: She says you have some goodly Jest in hand.
. She will not come; she bids you come to her.
Petruchio: Worse and worse; she will not come! 0 vile,
Intolerable, not to be endured!
Sirrah.Grumio, go to your mistress;
Say I command her to come to me.
(ma: GRUMIO)
Hortensio: I know her answer.
Petruchio: What?
Hortensio: She will not.
Petruchio: The fouler fortune mine, and there an end.

(RE-ENTER KATHERINE)

Baptista:
Katheri 116:

Yetruohzio 3

Now, by my salvation, here comes Katherine.
What is your will, sir, that you send for me?

Where is your sister, and Hortensio's wife?

,..'

 

 

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21?

ACT V, Scene 2

Katherine:
Petruchio:

They sit conferring by the parlor fire.

Go, fetch.them hither. If they deny to come,
Whip me them soundly forth.unto their husbands.
Away, I say, and bring them hither straight.

(EXIT KATHERINE)

Lucentio:
Hortensio:

Petruchio:

Baptista:

Petruchio:

Here is a wonder, if you talk of a wonder.
And so it is; I wonder what it means.

Marry, peace it means, and love, and quiet life,
And, to be short, what not that's sweet and happy.

The wager thou hast won; and.I will add
Unto their losses twenty thousand crowns,
Another dowry to another daughter,

For she is changed, as she had never been.

Day, I will win my wager better yet
And show more sign of her obedience.

(RE-ENTER KATHERINE WITH BIANCA AND THE VIDOW)

See where she comes and brings your forward wives
As prisoners to her womany persuasion.

Katherine, that cap of yours becomes you not;

Off with that bauble, throw it under foot.

(KATHERINE warms DOWN‘I-IER GAP)

‘deiow:

Bianca:

Lucentio:

Bianca:

Petruchio:

Lord, let me never have cause to sigh,
Till I be brought to such a silly pass!

Fie! what a foolish duty-call you this?

I would your duty were as foolish too.

The wisdom of your duty, fair Bianca,

Hath cost me a hundred crown since suppertime.
The more fool you, forbetting on my duty.
Katherine, I charge thee,tell these headstrong

H women
What duty they do owe their lords and husbands.

 

218

and kiss me, Kate."

on,
Banquet

Come

3 a wenchl
ucentio Wedding

L

there!

FI #5. “Why
Act V is 2. Bianca -

 

 

 

 

‘

I! I'll ’I'

'Il‘l {I

 

 

L'All stage lights up for curtain call
' House lights up

Stage lights out

Work lights up

 

219

ACT V, Scene 2

Widow:
Petruchio:
Widow:
Petruchio:

Katherine:

Petruchio:
Lucentio:
Baptista:

Petruchio:

Come, come, you're mocking; we will have no telling.
Come, on I say; and first begin with her.

She shall not.
I say she shall; and first begin with her.

Pie, fie! unknit that threatening unkind brow,
And dart not scornful glances from those eyes,
To wound thy lord, thy king, thy governor.

It blots thy beauty as frosts do bite the meads,
And in no sense is meet or amiable.

Thy husband is thy lord, thy life, thy keeper,
Thy head, thy sovereign; one that cares for thee,
And for thy maintenance commits his body

To painful labor both by sea and land,

To watch the night in storms, the day in cold,
Whilst thou liest warm at home, secure and safe;
And craves no other tribute at thy hands

But love, fair looks, and true obedience —

Too little payment for so great a debt.

Such duty as the subject owes the rince

Even such a woman oweth to her hus and;
And.when she is forward, peevish, sullen, sour,
And not obedient to his honest will,

What is she but a foul contending rebel

And graceless traitor to her loving lord?

I am ashamed that women are so simple .

To offer war where they should kneel for peace,
Or seek for rule, supremecy, and away,

When they are bound to serve, love and obey.

Why, there's a.wench! Come on, and kiss me, Kate.
Well, go thy ways, old lad; for thou shalt have it.
'Tis good hearing when children are docile.

Come, Kate, no coin hath been tossed.

Three are married, but you two have lost.
'Twas I won the wager, God give you good night.

( EXIT wrmaINE AND PETRUCHIO)
(CLOSE CURTAIN)L

I?!

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BIBLIOGRAPHY

 

 

221

BIBLIOGRAPHY

A. BOOKS

Blum, Daniel, editor, Theatre World Season lghB-hg. New
York: Greenberg: Publishers, I999. 236 pp.

Brandes, George, William Shakespeare A Critical Study.
New York: The fiac MIllan Company, I911. 709 pp.

Cheney, Shelden, The Theatre. New York: Tudor Publishing
Company. 1935. 538 pp-

Chute, Marchette, Shakespeare of London. New York:
Dutton and Company,“Ihc., I949. 597 PP-

D'Amico, Victor, Theater Art. Peoria, Illinois: The
Manual Arts Press, 41931. 217 pp.

deBanke, Cecile, Shakespearean Stage Production: Then a
Now. New York: McGraw-Hill Book Company,IInc., 1953.

555 pp.

Friederich, Willard J., and John I. Fraser, Scenery Design
For The Amateur Sta e. New York: The MaCMillan

Company, 1950. 2 pp.

Gardner, Helen, Art Throu h The A es. New York: Harcourt,
Brace and Company, I9EB. 851 pp.

 

Gassner, John, Producing The Play. New York: The Dryden
Press, l9bl. 734 pp.

lartnoll, Phyliss, editor, The Oxford Com anion To The
Theatre. London: Oxford University Press, 1931.
PP-

Jerrold, Maud, Italy In The Renaissance. Boston: John W.
Luce & Company, nc., I927. 292 pp.

Lee, Sir Sidney, [A Life g£_William Shakespeare. New York:
The MacMillan Company, I929. 776’pp.

Robb, David M., and J. J. Garrison, Art ;g_The Western _
World. New York: Harper & Brothers PubITEhers, 1942.
PP-
selden, Samuel, and Hunton D. Bellman, Stage Scenery And

Li htin . New York: Appleton 9 Century - Crofts, Inc.,
I993. £35 pp.

u map

Fn‘rnu...._-._ __I
r' A ..

 

222

Simonson, Lee, The Apt 02 Scenic Design. New York:
Harper and Brothers, Publishers, 1950. 179 pp.

Simonson, Lee, The Sta e Is Set. New York: Harcourt,
Brace and Company, nc., I932. 558 pp.

Sprague, Arthur, Shakespearian Players and Performances.
Cambridge: Harvard University Press, 1953. 222 pp.

Taylor, Rachel Annand, Invitation To Renaissance Ital .
New York: Harper & Brothers, PEblIshers, 193 . 50 pp.

Webster, Margaret, Shakespeare Without Tears. New York:
Whittlesey House, 1942. 319 pp.

B. PERIODICAL ARTICLES

Blank, Earl, editor, “How They Were Staged, Supplement
Number I,“ 1947. Publication of The National Thespian

Society. Cincinnati: 1-15.

Blank, Earl, editor, “How They Were Staged, Supplement
Number II,“ 1998. Publication of The National Thespian

Society. Cincinnati: 1—15.

Chute, Marchette, “From Shakespeare to Shakespeare,”
Seventeen, 70-72, July, 1954.

 

C. PAMPHLETS

Fuchs, Theodore, compiler, "Colored Gelatin for the
Theatre - School - and Community Playhouse," Randolph,
Vermont: Brigham Gelatin Company, 1950. 54 pp.

D. UNPUBLISHED MATERIAL

. “Handbook of Information, Procedures, and

ReguIations,I Statement of philosOphy of education, T.
L. landy High School, Bay City, Michigan, 1950. 16 pp.

I. OTHERS

Murphy, Clarence, “The Adaptation and Direction of Shakes—
peare's Macbeth for Bay City Handy High School.“
Masters' THeSis, Michigan State College, East Lansing,

APPENDIX

-‘

———-An

221+ 3
FIGURE 46.

THE BAY cr'rv nuns

-—..

i

WEDNESDAY, FEBRUARY 3, 1954

 

 

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- eszes Stiff i’hntu.

SHAKESPEARIAN CHARACTERS — This rehearsal scene has
Norma Jean Ponder and Jerry Flood costumed for their leading
roles in “Taming of the Shrew" to be presented by the Handy
Thespiam at Handy High school Friday and Saturday evenings.
An outstanding feature of the Shakespeare drama will be unique
hinted. swinging units which fold out in interchangeable combi-
nations to change the scene for the production. The school orches-
tra. directed by Robert “bite. will play selections from “'Kiss
Me Kate”, musical version of “Taming of the Shrew". The school's
a cappclla choir, directed by Karl Loessel. will sing before the

curtain rises on the performance. Tickets are on sale at the
school office.

 

 

 

 

 

 

 

. - . 1 . ‘15:..53‘2‘3‘11131‘3391

‘ Q ..-“- I‘i‘I'Ci -.."

 

   
 
 
   
  
 
 
   
  
 
  
  
 
  
  
   
 
 
 
 
 
 
 
  
 
 
  
  
   
  
  
    
    
  
 
  

-o' a.

“A: ._ -

Wednesday I_)ecemb_er 2;3.195:3

SHAKESPEARIAN
COMEDY 18 NEXT

Next Thespian Play
February 5-6;
The dates for the

_dnction of “The Taming of the Shrew”
have been set for February .3 and ti.

Thespian l’t‘n-

Rehearsals are now in session. Some
main characters of the play are:
Katherine. Norma Jean Ponder; Bia-
ca-l'lttalca iieadoen; Petruchio-Jerry
Flood: Luceno- Ray l.e\vando\vski;
The widow-Carole (‘randalk and Tra-
nio. Norman McKenzie.

“Taming of the Shrew." the second
annual thespian project is well on the
road of production. This slapsticl‘
Shakespearian comedy is the original
Kiss Me Kate. a musical comedy.
The original stage play from Broad-
way has been done by road companies
throughout the nation.

Different from Shake peare's Mac
Beth. last year's thespian prodUctinn.
Taming of the Shrew is a fast moving.
somewhat rough comedy. designed in
set most vievvcrs in the aisle.

Not only do the tvvn plays «litter
in content, but the staging is lightct
with gaiety prevailing The costumes
follow suit with brilliant.
color. The complete aspect of the play
is one of light hilarity. Like all
Shakespeare plays. Taming of the
Shrew is a live act play. its timing
being about the same length as most

shining

.J

 

A "behind the scenes angle proves
that although the play is being spon-
so""d by the thespians. there are
other groups who are applying their
time and talents to the production.
Miss Sutton’s fourth hour home-
making class are devoting their time
toward the making of costumes. Also.
Mr. Manet-'s seventh hour class have

donated their time to costume design-

ing.

The stage set must not be ovei-
bmkecl either. Members of both the
art club and the thespian troupe have
contributed many of their evenings
after school and Saturday morning's
]I"t‘t'iotts “sleep" hours to complete
the perfection of the play.

The thespian troupe has decided
that besides the regular tWo night
performances thrrc will be a Satur-
«lay matinc3. lligh school students
from schools throughout the state
of Michigan Will be im'ited to attend
the matinee.

 

 

 

‘FIGURI 48.
That-Ida); February 4, 1954 i

 

 

 

 

Clarence a. Ilia-pity The school
acappeilachoirandorcheetrawm
he heard heme and during the
Prune-ea. |
Tuesday,
Jenner: 26,. 4251
ln'GeyCoatunee—v

 

 

iHandy'Tllespim

 

 

 

"m mum I'm-as

 

‘ ‘

Pick Production
Camp Will Preeenh i
- Tmingpf the Shrew' '

. '1" Bhutan-nun play. “ran-I
in. o! the Show" hae been chem
5! My man 'achooi W'
3' “I“! Production at the eeeeoa.
. henna-(u. have already begun
antler direction of Clarence
Murphy. The animation group last
year earned atatewtde recognition
form- production at “llacheth”:

' “11min: ot‘the Shrew" wine.
Preeehted at the achooi for ioeal
audiences the evening a: 1.5; 5
and 3. A special performance‘ h
Doha arranged for high um
,mm from all over the atate on
the afternoon of feh. C. Invitan.
tiona haveheen sent to atadenph'g
i150 aohooia outside o! Bay City, ~
' WW roles in the (tuna have
been “lined to Norma Jean Pon-
ier end Jerry Flood. Other: n.
the cast are Ray Lewandowahi.
Kirk Wuepper, George Panama”
305°” Freed. Ron Bowen. Ron.
Luca. Ettaiea Beaudoen, and Nor-i
than Maexenzie. J.

. Costumes are homemade hy'um
achool’a homemaking dam;
8min!!! b01113 handledhytheart
department under firectioa et
Erneatuuaoer.

mm. W

‘7'

 

 

. .-d ’ ”... U-a '] n‘j

226

mu, om mag):

mu; mum; 1?, 1m

 

Il'lantly Thespian;
Readying Play

t Group Will Preeent ‘ ‘
Taming of the Shrew'

' High achool statute and
,teaehera ot varione department
'll’e working toaether with Clar-_
'enee Murphy, aehooi drama oil-eel
‘tor. in propane tor the prodno-T
M or the mu m e_
“Taming of the Shrew.”
. The play will he motel hy
handy Theeptana tab. 5 and C at
the achooi auditorium. Tickets an
ion sale at the aehod emu. ,
[ Studente of the homemehin. de-
oartment are making eoatumea nn-‘
.der direction of Moreno. Suttu.
We Betting: are being designed
..d constructed by the art depart-
130!“ with Ernest latter ea in-
'etrnctor. John Han and the have
in his printing ciaeeea are at M
'on tickets and procaine.-
i Cut in the leading role or the
ohm, Katherine. la Norma Jean
'Ponder. Petruchio. the you; than
'who tamea Katherine, is played h
Jerryfiood.
« Also in the cast are Ettalea
ileandoen. Ray Lewaadmki, Nor-
-ntan Mackenzie, George Paqoette.
.Kirk Wuepper, Ron Lune, Robert
freed. Luci Roeraul, Patti lune.
iey, JoAnne heavens. Jerry Ila:-
fphy, Carole Canaan, James Hood.
‘Judy Puma. «huh Heel“. 1'
Waitinan, Chariee Powell. - aIIIJ
Bernard Kummert. '

 

 

 

22
FIGURI 49 . g ) _ _ . _ _ 7 I.
THE HANDY PEP it'll nay our crane;
w.- W“ ‘—

—— --.—— .— ~-

 

 

Friday, _January 15—95: _—

 

HANDYITES BUSY ‘
0N THESPIAN PLAY

Ligh‘t . curtain. action, amt action
is what you get in Handy's portroyl

 

   
 

Handy to Repeat
Taming of Sltrcut'

The Shakespearian play. "the
Taming of the Shrew”, will 3 prev

tented again thia eveningatl

of William Shakesperes “Taming of thimk by! $3$$dénmm F—“b;
the Strew. Tins Thespian production “tag“ I n m “and” t. a

under direction of Mr. (‘larence Mur-
rhy will take place Friday. February
.3 at 8 pm and Saturday afetrnoon and
evening. February 6.

Shrew is a very cunning woman
named Katherine played by Norma
.lean Pondtr who shares the spotlight
with four other prominent characters.
The male lead played by Jerry Flood
i an equally important part and is
a challenge and in the play an over
powering factor to Katherine. Licentio
is portrayed by Ray Lewandowski,
who played the son in “All My Sons”,
Ettalea Beaudoen as Bianca should
be something to see after her firm per-
formance as the mother in Handy's fall
play. George Paquette plays Gremio
while the part of Hortensio is played
by Kirk Wuepper, a pair of seemingly
good actor .

There is also a very fine support-
ing east.

They are not the only persons who
put their time into such a production
as this. Mr. Hage and the printing
department print programs and tie-
kets. Mis Sutton's homemaking de-
partment sew the original costumes,
the art class and club under Mr. Mauer
builds, paints, and puts up the set
which. is a great asset to the play
itself. The woodshop and thespian club
‘ and troupe put int-heir work as part of
the overlooked work which could mean
the difference between ‘uccess and
failure in a play.

('redit for book reports will be given
most English classes for attending
this Shakespearian play. At only
seventy-five cents it is well worth
your while.

night and was to be given this in-
ernoon for student. of other high
schools from throughout the etate.

Lavish oostuming and unusual
sets have been worked out by the'

 

Handy High achool student: for the

production.

Handy Thespian:
on MSC’: TV .

Group Will Preaent
Sbalreaperian Play
Thespian Troupe of 'l'. L. has?

'dyl-iighachooiwillappearoathe
“Curtain Going Up" program on

I Michigan State college station
MTV this afternoon at 4

o’clock. ..
he local ttudenta will appear
in four acenea tron: their recent

‘ production of We

“Taming of the Shrew. "

No Handy teachers. Clarence
It. Murphy and Ernest Dinner. are
nine appearing on the prom
Murphy directed the production
and Mauer deaigned the etage eat--
tinge.

The program will he hrodceat
on radio station WEAR. next l‘rl-
day afternoon at _d o'clock.

Studenta appearing on the tele-
vision show include Norma Jean
Ponder. Jerry Flood. Robert

Patricia Mandley, Ettalea'

Bea n, Rayn Lewandowakl.
Ron Bowen, Ron Lucas. Jamea
Flood. Iria Gitaen. Carole Cran-

deli, Kit; Wuepper and Joann '

Leanne.

...—

» Apo.m.‘.._. fin.—

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ItCilLiY. Inlaeee Agent

BAY CITY PUBLIC SCHOOLS

0 PAULW. IIIGGS O SUPEIINTENDENI 0

 

 

 

 

 

B A Y C l T Y o M l C H l G A N
July 15, 1954 228
FIGURE 50.

Hr. Ernest Hauer
155 mkland Drive
East Lansing. Michigan

Dear Mr. Mauer:

It was a pleasure receiving your letter a few days ago and to learn
that you are now completing your work for your Masters' degree.

You are perfectly free to quote me regarding the very excellent
effect which the design and stage organization, including be light-
ing and production of the "Taming of the Shrew" had, both, on the
students and the adults who attended this excellent production. I

felt that the high quality of the physical pr erties and organization
of thisshow did much to make it one of mu helbgrtstanding high school
productions I have ever seen. I am sure that the educational effective-
ness of this show went far beyond its actual performance. The many
. students who acted as assistants in helping to plan .0er and
administer the physical aspects of the show received many benefits
which they could not have secured by other means.

Sincerely yours.

Quail.”

Paul W. Briggs?
Superintendent of Schools

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FlGURE 52.

July 8, 195‘;

1‘0 whoa it my concern:

In staging the aabitious venture of the Taming g; & Shrev I as
happy to single out the Art Depart-ant for special cos-endntion. It ,5 ..
seend to u that the spirit of the production was caught and carried
out with great effectiveness.

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Since students participated in such of the work and planning it .
bees-adorably valuable to then and to Randy High School as a whole. ,

The whole production becaas a cOOperative project which included
several depart-ants or the school and thus served not only as a
motivating influence for students in their study in English classes
but actually was patronized by those seeking entertainment. The art
students with their excellent Job added to both..

 

Sincerely,

(w. M... A

Arthur H. Canarield
Principal

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Emerita :1. CANSFIELD BAY CITY, MICHIGAN
IARSHALL W. IcCUEN
m... mm... FIGURE 5h. . June ‘u 195‘? 232

Mr. Ernest J. Manor
Art Instructor

1!. L. Handy High School
Bay City, Michigan

Dear Mr. lauer:

May I take this opportunity to express my appreciation
for the fine work you did on the setting and the lighting for
our Thespian production, zh_e Tamin p; the Shrew? In no
small measure was your stage as and—tEe'IIEt plan
responsible for the success of the production.

Your stage design with the hinged pieces of scenery made
possible a production which flowed from scene to scene without
any long waits. In this way the rhythm of the play was not
Jarred in any way. The colors and the decorative motifs employed
in the execution of the set helped to establish the locale and
maintain the comic mood of the play. The colors, being keyed
to the colors of the costumes, presented a harmonious effect
which the audience may not have been aware of, but certainly
had much influence on their reactions.

The light plan which you devised and carried out with your
crew back stage was most effective. This too, aided in maintaining
rhythm of the play from scene to scene. our organization of the
student light crew and the manner in which they performed in the
Presentations of the play are most commendable.

Your complete cooperation and willingness to adapt your
Ouging and lighting to the requirements of the play merit
much admiration from me as the director of the production
and from the Thespian troupe as the sponsoring organization.

Ims since? ,
Clarence B. ,
Director of Drama

the

 

 

 

 

 

 

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233

FIGURE 55.
Comments on set designed for Taming of the Shrew

Because Shakespeare has so many scenes, most prod-
uctions tend to be somewhat chOppy and the flow of the
play constantly interrupted. Mr Mauer solved this prob-
lem admirably with a very flexible unit set. The use of r
hooks and hinges to transform an exterior to an interior 4
(or vice versa) as the action called for it, contributed
greatly to the smooth flow of the entire production. Mr. i
Mauer used a wise choice of colors in his design. They ;
blended well and did not intrude upon the action but
reflected the carnival mood of the play completely. The
set was attractive in line as well as color and its unity
added greatly to my appreciation of the action. The
production was excellent theatre and the best of enter-

tainment , with never an intrusion of technical detail to

distract me.

- s/Kenneth I. Arnett

President,
Bay City Players

Copy: 7/24/54: em

 

2314}

Mm. I. D. MR
see sou-m ma
IAY CITY, MIQH.

July 13, 1954
Dear Ir. lauers-

I have been giving your letter considerable
thought and hope it is not too late to do you
some good in your thesis. or course, you realize
as i do that much can be forgotten in the tim
mich has elapsed since this production, however,
there are certain outstanding features which I
do remember and will try to base my comments on
what I can remember.

The set design and the style of the moduction
fit in perfectly with the type of play "Shrew" is.
I prticularly noticed the bright color scheme; it
seemed to add life to the “hole production. The
process of changing scenery and props is usually a
mystery to the average play-goer. This set seemed
unique in that it gave the audience a chance to
see scenery unfolded and props carried on and off

' stage without closing the curtain. 'When the set

was folded it looked like a town square. From this
exterior set, it was possible to unfold smaller
pieces of scenery, giving a total of three different

' interior playing areas. It was very interesting to
see the changes take place. I never realized one

set could be so versatile. If the curtains had
closed every time a chm go of set was necessary,
it would have been quite a long drawn out procedure.

I feel sure, if I could voice the opinion of all
who saw the "Shrew“, they would Join me in saving
it was unusually well done, both in lighting, and
stage set, not to mention the very fine casting

and directing.

Trusting the above is going to be of some help to
You and that you will attain your goal-«your
Masters' degree, I am

Sincerely, /
5mg, fW.

 

 

 

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Thespian Troupe 143, T. L. Handy High School

Presents Its Second Annual Production

tAmlnG OFtHE SHRE W

By William Shakespeare February 5 and 6, 1954

STA GE DESIGN &

DIRECTED B Y COSTUME
LIGHTING BY 0 R MURPHY SUPER VISOR
E. J. MA UER ° ' FLORENCE SUTTON

__________ DRAMATIS PERSONAE __________

 
 
    
 
  
   
   
   

BAPTISTA, a gentleman of Padua ______________ RONALD BOWEN f
LUCENTIO, son to Vincentio _______________ RAY LEWANDOWSKI
PETRUCHIO, suitor to Katherine _________________ JERRY FLOOD
VINCENTIO, an old gentleman of Pisa ________ CHARLES POWELL
GREMIO, suitor to Bianca ________________________ JAMES FLOOD I
HORTENSIO, suitor to Bianca __________________ KIRK WUEPPER
TRANIO, servant to Lucentio _____________ NORMAN MAC KENZIE f
BIONDELLO, servant to Lucentio ______________ RONALD LUCAS .
GRUMIO, servant to Petruchio __________________ ROBERT FREED .
A PEDANT ________________________________ GERALD MURPHY
SERVANT, to Baptista ____________________ BERNARD KUMMERT
OFFICER __________________________________ FRANK WALTMAN .
KATHERINE, the shrew ________________ NORMA JEAN PONDER
BIANCA, sister to Katherine ____________ ETTALEA BEAUDOEN .
WIDOW __________________________________ CAROLE CRANDALL 4
COOK, Petruchio’s servant ______________________ LUCI HOERAUF ’
NATALIA, servant to Petruchio"-.- ____________ PATTI MANDLEY l .
JOS-EPHA, servant to Petruchio ______________ JOANNE LEAVENS I
' DRESSMAKER ________________________________ JUDY PHIPPZEN
MILLINER______---____'_ _______________________ JANIS MAGILL
FIRST LADY ____________________________________ IRIS GITZEN
SECOND LADY ________________________________ BETTY SAVAGE
THIRD LADY _________________________ ____LOIS FOGELSONGER
PROLOGUE ______________________ ..- _____________ JERRY FLOOD

TIME AND ACTION OF THE PLAY

The play takes place in and around the houses facing the village
square of Padua in Italy some time long ago when men Still thought 1
they were masters of their households.

:“i

INTERMISSION ,~

Shakespeare original-1y wrote his plays to be performed continuously
without any breaks which we know today as “between acts interm1s-
sions”. The intermissions are purely arbitrary to allow our.aud1ence
brief respite from the hard seats. Each of the two intermissions will

be ten minutes long.

.\\

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THE STORY OF “TAMIN } OF THE SHREW”

Baptista has two beautiful daughters who are of marriageable age.
The younger, Bianca, is sweet and draws Lucentio, Hortensio, and
Gremio about her as her suitors. The older, Katherine, is quarrelsome
and violent. She attracts no suitors. Baptista has decided that the older
daughter, Katherine, must marry first.

Bianca’s suitors connive to get Katherine married to make her avail-
able to them. Into their plot strides Petruchio who prefers a rich
wife. and is challenged by Katherine’s spirit.

The suitors, Lucentio and l’lOl‘liL‘llSlO, disguise themselves as teach-
ers of Latin and music so as to be near Bianca. Lucentio’s servant,
Tranio, disguises himself as. his master, and he, too, woos Bianca for
his master. This plot involves getting the Pedant to portray Lucentio’s
father, Vincentio-

Katherine and Petruchio are married and go to his home where the
taming process ensues which consists of starvation, humiliation, and
siesileessuess for Katherine. In order to survive, she finally demdes
to become agreeable.

In the. meantime, Baptista’s servant, Biondello, has aided Lucentio
to elope With Bianca.

At Bianca’s wedding feast, Petruchio demonstrates how he has
tamed the shrew, but, at the same time, Katherine plants doubts in
our minds as to extent of her tractability.

PRODUCTION STAFF

Stage Crew ________ Robert Freed, chairman; Ward Van Derwill, Ray
Maxson, Bonnie Kessler, Jerry Maxson, Janice
Pickering, Ronald Lucas, Luci Hoerauf, Barbara
Schrader, Betty Schrader.

Lighting ____________ Donald Erbel, Ward Van Derwill, Robert Freed.
Properties ______________________ Seventh hour advanced art class.
Costumes ____________ Designed by seventh hour advanced art class-

__________ Created by Miss Florance Sutton and the fourth hour home-
making class.

Make-up __________________ Thespians and candidates of Troupe 143. _
Vocal Musm ______ Mr. Earl Loessel directing members of the A Capella
choir. '
THE STAGE DESIGN

The set design and lighting of this production is a graduate project
for Mr. Ernest Mauer who is a candidate for the degree of Master of
Arts at Michigan State College. His is a production thesis entitled
“The Designing and Staging of High School Production of The

Taming of the Shrew”. r,— .

ORCHESTRAL MUSIC 1 ,
The musrc is played by the Handy High School orchestra under the
direction of Mr. Robert White. The selections by the versatile Cole
Porter are from “Kiss Me Kate,” the musical version of “Shrew.”

AMATEUR PHOTOGRAPHERS

To eliminate annoyance to the audience as. well as to the actors, no
flash pictures are to be taken. Opportunity has been provided for pic-
ture taking prior to this performance.

COLLEGE ACTORS TO GIVE PLAY

The Michigan State College Players will present the play “Gramercy
Ghost" in this auditorium on the night of February 26 at 8 P. M.
This performance is being sponsored by the Handy Thespian Troupe
under the auspices of the Alumni Association of Michigan State
College. Additional information will appear later in the local paper.

 

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Katherine the curst! . ,.v .
A title for a maid of all , ~-f‘ :
.i k

*s'flk n Bay City is prev
gqaflfction, The Taming 9i
'fiV. for high SChOOl

The Thespian Troupe of T. L. Handy Hi h. _
senting a special performance of their mid" "
BEE Shrew, on Saturday, February 6, lQSh at
pupils outside of Bay City.

 

The play will be performed in Handy's a.s.f:i_'.'and the school
orchestra will play musical selections betwgeg .;§Wcts from KEEE Me Kate,
the musical version of Taming of the Shrew ” = 1‘5: recently made into a

.-... a
movie.

I

. §.been designed by

, F." Mauer is working on
ain‘tVzte College.

._
The bright, gay, and colorful stage as ”'zl §
Mr. Ernest Mauer of the school's art depart

this projcg, ' master's degree ‘a’t Mic

-w

 
  
 
 

    

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_gew we r fl‘i-hd .beenndesigngflg‘y“gt figiit; e advanced art class
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. . . «a: ....e A
Taming gi"’1" rfi “é'cfie‘nr“3hake8pearsis better known comedies and //
should prove entertaining fon,high school students. The TheSpian Troupe

at Handy is the same group that presented Macbeth last year with such

SUCCESS. . .

Q

 

Our student body discovered last year that Shakespeare performed is
entirely different from Shakespeare read and dissected in a classroom.
are certain that you would enjoy this production and we hope that you

attend.

We

Our principal cast members from a cast of twenty—five are contem»
plating the taking of extra vitamins because of the active and strenuous
nature of the play. It is a romp for us, and, we think, it Will be a

laugh fest for you.

Enclosed with this letter will be found a poster which you may dis—
play on your bulletin board. Also you will find a card which we would
like to have filled out and returned to us by the 15th of January. An
admission price of 50¢ is being charged for this Special afternoon per-
formance. Our two evening performances on the 5th and 6th of February
will be at a higher rate.

Following the afternoon performance, we would like to meet you back-
stage where our ThesPians will be waiting to greet you. We are certain
that you would enjoy this production and we hope that you attend.

Yours sincerely,
TheSpism Troupe #1h3

T. L. Handy High School
Bay City. Michigan

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BIOGRAPfiY OF THE AUThOR

The author was born on September 14, 1926 in
Cleveland, Ohio. He attended parochial school from the
first to the eighth grade, and then went to Collinwood
High School graduating in 1944. During his senior year
he worked after school as an apprentice tool designer in
which position he utilized the training in mechanical
drawing which he received in high school.

After graduation he entered the Army in December
of 1944 serving for a period of two years. Fifteen
months of his Army duty were spent overseas in the Phil-
ippine Islands and Japan. He served principally with the
lat Cavalry Division Artillery Headquarters and rose to
the rank of Master Sergeant. He was discharged in NOVember
of 19h6.

In March of 1947 he entered Kent State University
in Kent, Ohio where he was elected to membership in Kappa
Delta Pi, National Education Honorary Fraternity; Blue Key,
National Service Honorary Fraternity; Alpha Psi Omega,
National Dramatics Honorary Fraternity in which.he served
as secretary-treasurer during his senior year; University
Theatre, in which he served as publicity manager during his
senior year; and the Art Club in which he served.as pres-
.ident during his senior year. He also participated actively
131*thc radio and dramatic presentations of the university.

In June of 1950 he graduated from Kent State University with

 

 

 

 

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the degree of Bachelor of Science in Education awarded
cum laude with a major in art and a minor in theatre.
He was also granted a teaching certificate in the above
subjects by the Ohio State Board of Education.

During the summer of 1950, the author attended
Western Reserve University in Cleveland, Ohio where he
took additional courses in theatre. In September, 1950
he began teaching art in the intermediate schools (grades
5th through 8th) in Bay City, Michigan. After the first

 

year, he was transferred to Handy High School where he is
teaching art at the present writing. His major extra-
curricular activity at the high school is designing and
building the sets for the plays.

The author began his studies at Michigan State
College in the summer of 1951 and has attended that instit—
ution for the past four summers. The purpose of enrolling
at Michigan State College was to begin work toward the

degree of Master of Arts.

 

 

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