The Taming of the Shrew
Love’s Labour’s Lost
Introduction:
The
performance proper began in the summer
of 2001 – when 18 characters of different kinds of temperament and nature gathered in the august surroundings of
Gymnasium Borbeck to be part of the play. Some had just returned from the New
World with obvious abnormalities of pronunciation that it was hard to integrate
them into the team and to teach them standard diction.
Plot:
The
play tells the story of 18 (in the course of the play 2 actors changed the
set) young people of various nationalities
in their permanent struggle for
academy awards ( certificates) in both bilingual English and history
that should – after a climax of controversial dialogues (though some preferred extensive soliloquies) – open them all doors to stages worldwide.
It contributed to the dramatic effect that there were
theatrical exchanges absolutely ready
for the stage between male and female, talkative and quiet, compassionate and
complacent, dry and funny characters which made sure that the single acts and
scenes ( here: lessons) were never boring, just the opposite: they were
nerve-racking and made many demands on both stage director (here: teacher) and
actors ( here: students).
The confrontation of the rival groups ( participants
and non- participants= objectors of the
lessons) sometimes culminated in
aggressive verbal exchanges, withdrawal of affection or even treatment with
contempt. This sometimes stretched the stage director too far – it has to be
admitted – and she could only try to do her best, that meant
to save the situation with some extra-ordinary interludes (here: stories,
dinners, excursions ..).
The play ended , good gracious, not in a catastrophe but in common conciliation with joyous celebrations as all the characters involved simply were keen on leaving the stage after such hard times being granted good reviews as a reward for their never-ending engagement, ready and well prepared for a promising further stage career.
Cast: actresses
and actors of the 2003 performance:
As
for data (or datta) protection the names remain unknown but recognizable for
those who know the scene.
Nice-looking
ladies but quiet as grave. Difficult to handle and a problem for each performance
as they could if they would! Mistresses
of the passive participation (back stage career?)…
Another group of nice ladies – also quiet but
more willing. Less problematic for the
stage director. Some should join the
writing business as their adaptations of common issues are brilliant..
Two
extremely sophisticated ladies –”shrews ”? but no case for taming. Promising
future! Could improve their theatrical effectiveness.
One
lady in permanent opposition (antagonist?) – especially with regard to the
climatic conditions on and behind the stage and permanently defending the rights of the other members of the cast.
Difficulties with her scenes due to an
uncompromising schedule.
One
lady of great eloquence (after some pronunciation regulations) and the
prohibition to say more than the script allows. But she is on the right track.
One
more lady – whose mind was often elsewhere and who had to be reminded of her
part in the play. Finally she found a private prompter…
A
gentleman with an exuberant self-confidence and who always tried to break the
rules and speak a different text with his innate sense of dramatization.
One
gentleman whose main idea it was to have his own fun diverging from the script
or the stage directions and who sometimes spoilt the play by his food excesses.
Another
gentleman with a cute knowledge of the cinema business, could have been more
involved in our play but good backstage
observer.
And
finally one gentleman with varying interest but sometimes strange even striking
views, Theatrically very effective, esp. his peculiar pronunciation and diction.
Though
it was sometimes very difficult for the stage director to accommodate
everything and everyone it was a good time and this play will be unforgettable. We managed it quite
well.
Now
it is time to take our last curtain call:
All’s well that ends well
(I’ll miss you and I mean it)
Essen,
February 2003
Ulla
Westphal, English and history
teacher as well as stage director
(politically incorrect)