THEATER REVIEW: Fast, Fast, Fast? Not quite. GCP’s ‘Shrew’ falters in the footsteps of ‘Laugh-in’

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Also, the addition of repeated pantomimes and dances as intros to pivotal scenes just elongates the story, providing unnecessary exposition for what is perfectly obvious as the scene starts. These little tableaux may be inspired by “Laugh-in,” but they are too quiet, too slow, and too slim on sight gags to prime the audience as they wait for the next scene. It’s an unnecessary conceit and weakens the pacing of the show.

You bet your sweet bippy!

One of the reasons “The Taming of the Shrew” is still often produced today (instead of, say, Shakespeare’s “Titus Andronicus”) is that Kate and Petruchio are probably second only to Beatrice and Benedick in terms of audience affection. Each couple has its own spark, its own dynamic, and its own loveability quotient to keep people coming back. In “Much Ado,” most of the attraction is the long-standing intellectual sparring between Bea and Ben. In “Taming,” most folks chalk it up to the palpable sexual tension and how both are stirred—downright gobsmacked—by the other throughout their scenes.

While Guizar and Shadle do everything they can to keep the zingers coming, there is little to no chemistry between the two. That comes down to how they look at each other, listen to each other, and touch each other. These areas need more focus from the direction.

Ring my chimes!

The rest of the coupling stories are equally prim in their execution. Nary a hint of a make-out session, a roll in the hay, or a single impropriety is alluded to on the stage, giving us none of the sex appeal of neither “Laugh-in” nor “Taming.” Which may be a blessing considering how Bianca and Kate are skipping rope and playing finger string games like grade schoolers. (What?!)

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Without the dichotomy of raging sex drives and purity culture that “Taming” inevitably sets up, how are we supposed to understand the importance of Bianca’s eventual defiance? Where do we see the widow’s attractions for a man looking to wed hastily? There is a lot of sexy humor straight out of “Laugh-in” waiting in the wings here, but it never arrives.

Beautiful downtown Burbank

Now, lest we think I found nothing of worth in this production, let’s discuss some bright spots or places that had potential for growth on opening night:

• The uneven community cast is gaining fluency with the early modern English of Shakepseare’s language. While not always clear or related to their actions, this mostly novice cast is clearly learning.

• teNyenhuis is effortless in his charm, and Nico DiVicarro’s comedic timing as Tranio is excellent. Character actors Miles Mellon (Grumio) and Guinevere J. Thelin (the Pedant) make the most of supporting roles full of physical comedy. They both fully commit to “the bit.”
• Wristen’s Bianca rises above her childlike portrayal in the final scene with aplomb. Guizar’s Kate is appropriately cantankerous and has the beginnings of a good portrayal. If she can find Kate’s wild, threatening, desperate, and playful elements to mix in, she will elevate her skills here
• Shadle’s Petruchio has potential with a solid stage presence and voice. I appreciated his initial appearance in the play as a calm, cool character staking out opportunities in the bohemian Padua. If he can find more challenge and surprise in Kate, he’ll move beyond the straight-man persona and grow as a partner (and as an actor).

• The iconic “Laugh-in” set windows for characters to pop in and out of allowing for asides, eavesdropping, and introducing new scenes has its clever moments, but it missed a few opportunities for a few “veeeeery interestink . . . . but stupick!” “Laugh-in” catchphrases to roll through the action.
• The music cue selections supported the action and at times were subversive and clever. “You Don’t Own Me” in front of a wedding scene is priceless.

All of this is to say that this cast has potential and I believe I saw glimmers of “what could have been” and “what could be,” but it is stymied by slow pacing and a lackluster attempt to meet the demands of the “Laugh-in” concept.

Is this version of “Taming of the Shrew” right for the time? I question whether “Taming” ever is, but I know a number of actors who would disagree with me on that. So, yes, perhaps there are versions of “Taming” that could be both hilarious and right for the time. This one, however, didn’t meet that “Rowan and Martin” mark.

“The Taming of the Shrew” continues at Good Company Players’ 2nd Space Theatre through Aug. 17.