1) Provisions.
Mosquito repellent. It seemed like everyone else was prepared with their mosquito repellent stickers literally beaming from their clothing while I cringed with dismay as my ankle was bitten by the bloody creature again (pun very much intended). That being said, I was bitten twice in total so the place wasn’t swarming. Nonetheless, why let slip the opportunity to wear a happy face on your sleeve? :)
The mat. It’s a picnic-prior-to and during entertainment kind of affair, so bring along comfortable stuff to sit on. We brought a chequered red-and-white tablecloth; others came with blankets, travel pillows, those brilliant portable chair things. Anything goes but please don’t be the jerk that blocks others’ view with a raised seat or whatever. Besides, that’s not even necessary to get a good view; the area's quite intimate and viewing is perfectly fine all around even from the ground and back. We got there early and “choped” an awesome spot; recommended! Ground sheets were available for loan, and a few rows of benches were arranged at the back for the non-picnickers.
F&B. Bring dinner and snacks, though don’t chew noisily during the play (goes without saying but still seems to need to be said). The Travelling C.O.W. (Chef on Wheels, the wheels being a van painted as a cow) was on site and we got a laksa wrap which was so awful we got more of it during intermission. Just awful. I can’t even. Plenty of drinks available but bring your own bottle if you want.
- The all-female cast.
‘What’s up with that?’ It is called a twist. A clever one too, I think, considering the play’s main subject matter. I bring this up because apparently it’s a thing. I’ve a sneaking suspicion I wouldn’t have been entreated for an explanation had it been an all-male casting, but if it’s women taking on roles of men, RAISE THE ROOF! (And stomp all over it in the process.) Anyway, gender has always been an intricate part of Shakespeare’s plays – both within and without – but that’s an essay topic by itself. For now could we take a quick step back and just celebrate the fact that it’s no longer punishable by law for women to be on stage?
Now that that’s out of my system...
The production was beautifully executed; the portrayal of characters, comedic timing, use of costumes and/as props and setting, some teasing with the audience, and the final tautening emotional scene which buffed off all the comedy and laid quite barely the tragedy in the end (props to magnificent writing, also great execution by the actors). The cast opened and closed with musical sets which included guitars, the box drum, saxophone, the cello – they all play instruments! - and some tunes were played during the play too. It was a good time.
Hey, it’s Shakespeare we’re talking about.
The play seems to be about an independent-minded woman being broken into marriage and submission by a man. The audience laughs along to the comedic antics all around, including those of Petruchio basically treating Katherine with brutality, humiliation, deprivation. Does this imply our complicity in what is glaringly a man opressing a woman? Maybe, if one was referring to reality, but this is a performance… Is there a difference? Are we reacting to the performance of misogyny in the same way we react to it in our daily lives, when we encounter or read about women being ill-treated in stiflingly patriarchal communities in many parts of the world?
But back to the play; in fact, to the play within a play. Let's be clear about that: Shakespeare was presenting Taming as a play within a play – a work of fiction in the fictitious world he’d created on-stage. A nuanced yet significant indicator as to his leanings?
Was the man a misogynist? Who knows. Note that he also created the fiery Lady Macbeth and clever Rosalind. Also, during his time people, such as oh playwrights for example, would have been punished for blatantly going against the grain of social norms (hmm sound familiar?) In other words, I hope not!
The point of art…
Is to provoke thought and evoke responses. It’s been centuries since Taming was first written and performed and it still elicits controversy – thanks to Shakespeare’s timeless genius or a bittersweet reflection of how some social constructions have endured since the 1500s?
3) The Globe.
I'd found out about Shakespeare’s Globe's tour to Sg with Taming in June, just before my London trip - where I'd of course visited THE Globe (recreation of the original venue) on my first day there no less and caught a matinée of Midsummer Night's Dream. At a sky high 5 pounds. My very own summer day's dream. And if I may just real quick - Macbeth was playing too but we were traveling outside London (!!!)
The venue was larger there, accommodating a much bigger audience which comprised people standing - mosh pit style - from the edge of the stage outwards and sitting areas. Standing was a bit obstructive given that I am just a tad bit shorter than most people, but once we found good positions looking through gaps of heads, it was fine. It also drizzled. But the play was just excellent. Lots of use of the audience "areas", sort of enveloping us into the whole scene. Taming did that to a small extent here too. I really liked that. Also, the more familiar picnic style was used here with a small number of seats in the back just to accommodate those who'd be more comfortable there.
I’d read that of this crew doing an international tour in the manner it did – with the “old school” booth stage set-up instead of a snazzy modern affair – was as a sort of tribute to the very first touring companies way back when. Thought it's a nice touch.
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