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  • 2013 Oregon Shakespeare Festival
  • Michael W. Shurgot
The Taming of the ShrewPresented by Oregon Shakespeare Festivalin the Angus Bowmer Theatre, Ashland, Oregon. February 15–November 3, 2013. Directed by David Ivers. Set by Jo Winiarski. Costumes by Meg Neville. Lighting by Jaymi Lee Smith. Music and sound by Paul James Prendergast. Fights by U. Jonathan Toppo. With Royer Bockus (Bianca), Wayne T. Carr (Lucentio), Christiana Clark (Biondello), Catherine E. Coulson (Haberdasher), Ted Deasy (Petruchio), Nell Geisslinger (Kate), Tasso Feldman (Grumio), Robert Vincent Frank (Baptista), Brent Hinkley (Tourist), David Kelly (Gremio), Jeremy Peter Johnson (Hortensio), Terri McMahon (Widow), Mark Murphey (Tailor), John Tufts (Tranio), Joe Wegner (Curtis), Tyrone Wilson (Vincentio), and Andrew E. Yabroff (Servant/Messenger).
A Midsummer Night’s DreamPresented by Oregon Shakespeare Festivalin the Elizabethan Theatre, Ashland, Oregon. June 6–October 13, 2013. Directed by Christopher Liam Moore. Set by Michael Ganio. Costumes by Linda Cho. Lighting by David Weiner. Music and sound by Sarah Pickett. Fights by U. Jonathan Toppo. With Jon Beavers (Francis Flute), Judith-Marie Bergan (Hippolyta), Wayne T. Carr (Demetrius), Christiana Clark (Helena), Catherine E. Coulson (P. D. Quince), Gina Daniels (Puck), Ted Deasy (Oberon), Robert Vincent Frank (Egeus), Dawn-Lyen Gardner (Philostrate), Brent Hinkley (Bottom), Richard Howard (Theseus), Michael J. Hume (Snug), Terri McMahon (Titania), Tanya Thai McBride (Hermia), Isabell Monk O’Connor (Robin Starveling), K. T. Vogt (Pam Snout), and Joe Wegner (Lysander).
King LearPresented by Oregon Shakespeare Festivalin the Thomas Theatre, Ashland, Oregon. February 21–November 3, 2013. Directed by Bill Rauch. Set by Christopher Acebo. Costumes by Linda Roethke. Lighting by Christopher Akerlind. Music and sound by Andre J. Pluess. Fights by U. Jonathan Tuppo. With Barzin Akhavan (Oswald), Raffi Barsoumian (Edmund), Tony DeBruno (King of France), Armando Duran (Earl of Kent), Richard Elmore (Earl of Gloucester), Ray Fisher (Duke of Burgundy, 2/21–7/21), Peter Frechette (Duke of Albany), Sofia Jean Gomez (Cordelia), Donovan Mitchell (Duke of Burgundy, 7/26–11/3), Robin Goodrin Nordli (Regan), Benjamin Pelteson (Edgar), Vilma Silva (Goneril), Daisuke Tsuji (Fool), Jack Willis and Michael Winters (alternating as King Lear), and Rex Young (Duke of Cornwall).

At the Oregon Shakespeare Festival last year, both David Ivers ( Shrew) and Christopher Liam Moore ( Dream) crammed their comedies into concepts that not only captivated spectators’ imaginations but also challenged their suspension of disbelief. Jo Winiarski’s set for Shrewwas “Baptista’s Boardwalk” in Padua, circa 1950: a brightly lit, gaudy tourist attraction including a fun house, a hell mouth, an exit stage right labeled “Fortune’s Fool,” a shooting gallery, and a hot-dog-and-soda-pop-stand where Kate worked while Bianca lounged around in Barbie Doll outfits. Although Baptista made his living in modern Italy, his insistence that Bianca marry before Kate created a glaring culture clash that Kate and Petruchio superbly exploited. Baptista employed a country-rock band in the upper gallery that belted out ’50s tunes and introduced what Kate McConnell called the show’s “rockabilly aesthetic and subculture” that “sp[oke] to the impulse to break free, not losing one’s roots but taking a chance and moving on” (41).

The romantic plots were sharply differentiated. Royer Bockus played Bianca as a ditzy, blonde, empty-headed younger daughter (Fig. 1). She wiggled and giggled among her suitors, including David Kelly’s silly Gremio in his plain white shirt, striped blue and white shorts, and thigh-high black socks, and Jeremy Peter Johnson’s Hortensio, who wore a white cowboy hat, black boots, and a white lounge suit complete with embroidered notes. In 2.1, Bianca, in short shorts, basked in Baptista’s attention while Kate, wearing the same blue shirt and white pants as Baptista, dusted his shop. Given the setting, Lucentio’s intention to pursue a “course of learning and ingenious studies” was ludicrous, and it evaporated the instant he saw Bianca flitting around Papa’s boardwalk. The resulting “supposes” plots, where Lucentio and Grumio dressed in bold colors and designer shades and tried oh so hard to be oh so cool, culminated in Grumio-as-Lucentio and Hortensio in 2.1 flashing presentations of their absurd wealth on a huge screen digital slideshow. The...

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