Entries tagged with “Lucentio”.


Scott Lange (Lucentio / Gremio / Pedant) on the process of finding humor.

Humor is a funny thing. Or perhaps I should say SENSE of humor. It’s a funny thing that is totally unpredictable.

The Taming of the Shrew is classified as one of Shakespeare’s comedies. There are many funny things about the play (i.e.: the characters, the language, and the situations), but it can be nearly impossible to tell what the audience is going to find funny once you actually get to performances. I feel as though this production was especially challenging in that regard. For instance, we didn’t have any outside eyes on the show until the week we opened in Grand Rapids. And even then, it was only one person at a time that would watch the show, and give us feedback.

When you perform a comedy, laughter is an essential part of the show. Both in terms of getting the timing of your performance down, and helping fuel the energy of the show. We didn’t really get to experience our first real dose of laughter until opening night. Like I said, we had some outside eyes come in during production week, but there wasn’t a great deal of laughter on those nights. That’s not to say that the people watching the show didn’t enjoy it or that it wasn’t great to have an audience, but when you are one of a few (or the only) people watching a show, the impulse to laugh heartily isn’t quite as strong. There’s something about a crowd that makes it easier to laugh.

So you may be asking yourself: “Scott, what do you do when you are rehearsing an hilarious Shakespearean comedy without an ever present audience?” Well the answer is that you try to make each other laugh.

Comedy can be very subjective. What I think is funny, you may find crude or tasteless (this happens to me often actually…hmm.) And what my friend thinks is funny might be pretty dull to a lot of other people. It takes a lot of experimenting with the play to really figure out what the largest majority of people find amusing. Even then, you can’t please everyone. Mostly what we do at Pigeon Creek, is to make each successive choice for a character more and more ridiculous. Often my goal is to find a way to make my fellow actors break character in the middle of the scene. If I can make one of my fellow professional actors lose their concentration, I’ve done my job.

Usually once we reach that point, we do need to pull it back a bit. Sometimes the things that make us laugh the most often can’t be done on stage. It could distract from what the other characters on stage are doing, or it might just be too much over the top. I personally have two moments in this show that get pretty good laughs that came from some over-the-top experimentation. They are a bit ridiculous, but I’m glad I got to keep them in the show.

But sometimes you can’t beat having an audience. Kat Hermes and I were just having a discussion the other day, about lines that we thought were funny, but that we haven’t been able to coax a laugh from our audiences yet. The conversation centered around how exactly we were attacking the lines; on what word we placed the emphasis, volume, funny faces, etc. Again, it focused on the experimentation we had done with the play, but also highlighted the fact that we really had to think about how to make things funny.

Like I said, humor is a funny thing. Sometimes it takes a lot of work.

Scott Lange (Lucentio / Gremio / Pedant) on the rehearsal process of a six-person The Taming of the Shrew.

It wasn’t until the first week of rehearsal that I realized how much work this production was going to take. Not just from me, but the whole cast. My first thought when we decided to produce a small cast show (and I maintain that thought is a correct one), was that we had a cast of smart, talented, Pigeon Creek veterans who would easily bend the production to their will.

For the most part, it has been smooth sailing. Only a few scenes have given us fits about the staging, conversation and discussion has been free flowing, and we’ve been able to have quite a bit of fun while staying (mostly) productive.

But there are a few challenges that I never expected. With our typical cast size (about 12 people) every actor has just about equal stage time, but everybody gets a break at some point. But when the cast is half of that, everyone is pretty much on stage through the entire play. With an ensemble directed cast, when an actor is not on stage, they are designated as an outside eye to assist the scene. But with a small cast, there are rarely any scenes where more than one or two actors have been able to step back and look from an audience perspective. So even when we are not on stage, we need to be active participants in the rehearsal process. There’s no sitting back and letting someone else do the work.

What this results in, at least during rehearsal, is a lot of tired actors. We typically rehearse four hours a night. By the time we hit that fourth hour, everyone looks pretty spent. It takes a lot of energy and mental fortitude to work with this type of show.

There are also on stage challenges. Everyone is doubled to the extreme. So actors may be playing two or more large roles. Sometimes this results in instant on stage costume and character changes. There are only a few of those in the play, but we have had to take a really close look at those to make sure they are clear and precise. With those instant changes, the actors have to work harder to make each and every character distinct. We always maintain that a change of costume indicates a change of character. That is still true with this production, but there will be fewer costumes to help with that. We need to make sure that the audiences can tell when a new character is on stage, even if there was no costume at all. This has been difficult for me to wrap my brain around. I always base my characters physical and vocal attributes on my own. This way, what ends up on stage is me, but not me, at the same time. I feel like with this production I have had to push that farther that I normally would. It has been hard, but I am always happy to be pushed and challenged in ways I never expect.

We have not had anyone outside of the cast come in to watch our craziness yet. I know that day is coming. I am always slightly frightened when that happens. I feel very vulnerable the first time I present my work to a new person. But the point is for someone outside of the process to come in and help us determine what parts of our concept are working, or perhaps not working. They’ll help us edit, embellish, and perhaps alter our work if necessary. In the end, it will be for the greater good, and will help us put on the best production possible.