SShheerriiddaann CCoolllleeggee SSOOUURRCCEE:: SShheerriiddaann IInnssttiittuuttiioonnaall RReeppoossiittoorryy Faculty Books 2009 TThhee TTaammiinngg ooff tthhee TTaammeerr ((aallssoo kknnoowwnn aass TThhee TTaammeerr TTaammeedd oorr TThhee WWoommaann’’ss PPrriizzee)) bbyy JJoohhnn FFlleettcchheerr Patrick Young Sheridan College, [email protected] Follow this and additional works at: https://source.sheridancollege.ca/faad_visu_book Part of the Theatre and Performance Studies Commons SSOOUURRCCEE CCiittaattiioonn Young, Patrick, "The Taming of the Tamer (also known as The Tamer Tamed or The Woman’s Prize) by John Fletcher" (2009). Faculty Books. 1. https://source.sheridancollege.ca/faad_visu_book/1 This work is licensed under a Creative Commons Attribution 4.0 License. This Book is brought to you for free and open access by SOURCE: Sheridan Institutional Repository. It has been accepted for inclusion in Faculty Books by an authorized administrator of SOURCE: Sheridan Institutional Repository. For more information, please contact [email protected]. Critical Reaction to THE TAMING OF THE TAMER “Unlike the movies, stage sequels rarely work … John Fletcher’s Taming of the Tamer proves to be a happy exception to the rule…. Petruchio is now a widower with a new bride who decides to turn the tables on him. Not only that, she encourages other women to do the same. … Brisk pace, zest and comic invention…. The secondary couple gets their share of fine scenes.… Fascinating piece … It is a completely self-contained show, and a highly enjoyable one at that.” ̶ Mark Andrew Lawrence, Mississauga News “John Fletcher had the cojones to write a follow-up to the bard’s Taming of the Shrew, but from the distaff side…. Healey’s Maria [is] no bitch, just iron fist in velvet glove…. Bitton’s Petruchio owns Act II…. Mark Johnston’s Tranio makes the role key to the play’s progress; Livia [is] delightfully played by Sophia Fabiilli; the Macchiavellian machinations of Tamara Zdravkovic’s Bianca would make Hilary Clinton envious; and Darren Turner as young Rowland captures audience empathy from the get-go.” ̶ Danny Gaisin, Ontario Arts Review “Lewd comedy … hilarious performances … passion [and] excitement … The attention to detail in all aspects – the acting, the stage direction, the props and costumes – was superb.” ̶ The Medium The Taming of the Tamer (also known as The Tamer Tamed or The Woman’s Prize) by JOHN FLETCHER A performance version adapted by Patrick Young for Theatre Erindale Based on the Folio of 1647 (and compared with other recent editions with assistance from Qasim Khan) Copyright © 2008-2009 by Patrick Young This edition is freely available for private or classroom study. Production rights, however, are strictly reserved. For all enquiries, whether professional or amateur, contact the Playwrights’ Guild of Canada at [email protected] or 416.703.0201. About the Adaptation … The Taming of the Tamer (also known as The Tamer Tamed and The Woman’s Prize) was written fifteen to twenty years after The Taming of the Shrew, and picks up the story perhaps ten years later. Despite their exotic names, the characters have become “real people” rather than the inventions of travelling players, and they live unabashedly in London rather than Italy. Petruchio, widowed some time before, has just taken Kate’s cousin Maria as his second wife. Kate’s sister Bianca has not only been widowed but radicalized since we last saw her – without, however, losing any of her love of a good trick. There are other conscious parallels to the earlier story: younger sister Livia is about to be forced into a May-December match; Tranio (now a wealthy gentleman rather than a manservant) aids and abets the younger romance. Petronius is brother to Baptista, Sophocles parallels Hortensio, Jaques and Pedro mirror Grumio and Peter. Men make huge bets on their sexual and romantic prowess; Maria bullies her servants for effect, and creates an outrageous outfit to rival Petruchio’s on his first wedding night. The inspiration of Aristophanes’ Lysistrata is also clearly at work throughout the play. But the most important force behind the creation of this comedy is John Fletcher’s urgent need to counter the perceived misogyny of Shrew with his own passionate call for true partnership and “due equality” in marriage. The Taming of the Tamer has come down to us in two folios, one published twenty-two years after the author’s death, and the other fifty-four. These texts are poorly proofread, inconsistent, and often mutually contradictory. A third now published in facsimile of a manuscript from the Folger Library has significant differences from either. None of the three reads credibly like a version tested in rehearsal and proven in frequent performance by Shakespeare’s company, the King’s Men; rather they show signs – to a dramaturg – of being based on early rough drafts. This lack of a performance-ready text is one reason for the play’s obscurity; unlike most of Shakespeare’s works, it has not had the benefit of four centuries of textual scholarship and theatrical production. Five years ago, the Royal Shakespeare Company set out to fill that gap. As part of its campaign to revive the works of Shakespeare’s contemporaries, the RSC produced The Taming of the Shrew and The Tamer Tamed with the same cast and set design in a repertory directed by Gregory Doran, toured it to the USA, and published its own version of the Tamer text. The result was a revelation: the manifest attractions of the piece were embraced by English-speaking companies the world over, and even translated into other languages (though this – as far as we know – is the first production in Canada). Our version of the play, however, is unique. Starting directly with the Folio of 1647 and comparing it with the new RSC, Revels, and Folger manuscript editions, we cut one scene, restored two, repositioned a couple of others, and re- ordered material in several more. Though modern spelling and punctuation were added, Fletcher’s distinctive scansion and diction were carefully preserved. The lyrics of the “Women’s War Song” were regularized to go hand in glove with original music. Most importantly, red herrings, redundancies, and anything that actors could not hope to clarify for the modern audience were expunged – all in an effort to arrive at the clearest and most cleanly actable version of the story to hit the stage since 1633 (when we know it was presented at court in tandem with Shrew but to even greater acclaim). As a suitable moniker for this new acting edition, we chose the least familiar but most appropriate of the three titles referred to in historical documents: The Taming of the Tamer. We are thrilled to be the first company in Canada to present Shrew and Tamer together in a single season and in sequence. I’ve been blessed in rehearsal with the assistance and support of Jenny Salisbury, David Vanderlip, Sarah Jane Burton, and Christopher Dawes, in addition to our Theatre Erindale Production Staff, and the cast has responded to this remarkably fresh text with hard work and boundless enthusiasm. If we can now share with you some portion of both the fun and the passion this too-long-forgotten play has inspired in us, we’ll have accomplished what we set out to do. About the Author … JOHN FLETCHER (1579 - 1625) was born to an ambitious and successful cleric who was in turn Dean of Peterborough, Bishop of Bristol, Bishop of Worcester, Bishop of London, and chaplain to Queen Elizabeth. Nevertheless, his father died in debt and out of favour, and the upbringing of John and his seven siblings was entrusted to his paternal uncle, a poet and minor official. Fletcher attended Corpus Christi College, Cambridge, in the 1590s, and by 1606 began to appear as an author for the Children of the Queen's Revels, then performing at the Blackfriars Theatre. He seems to have been friends with Ben Jonson and the “university wits”, but his most important early partnership was with the man to whose name his has been linked in literary history ever since, Francis Beaumont. Beaumont and Fletcher wrote less than a dozen plays together (while apparently sharing living quarters as well), but exerted a profound stylistic influence on other authors – including William Shakespeare in his late romances. After the success of Philaster (1609?), they were especially associated with the new form of tragicomedy. One of their most enduringly popular works, The Maid’s Tragedy – also noteworthy for its empathy with the lot of women – was successfully produced by Theatre Erindale two years ago. The partnership ended in 1613 when Beaumont was married (he died in 1616), but by that time Fletcher had already made a considerable independent mark for himself. The Tamer Tamed (1611) was so successful that Shakespeare invited the younger author to team up, and they wrote three plays together: Henry VIII, The Two Noble Kinsmen, and Double Falsehood (which survives only as adapted by Lewis Theobald in the eighteenth century). On Shakespeare’s retirement, Fletcher took over as the chief writer of the King’s Men, for whom he wrote exclusively thereafter. Though now credited with some sixteen plays written on his own, the majority of Fletcher’s output – up to forty works in all – continued to be collaborative. He wrote plays with Massinger, Field, Middleton, Rowley, Jonson, Chapman, and Shirley – a remarkable record. It is safe to say that his work eclipsed even Shakespeare’s in popularity for the rest of the century, and endured onstage well into the next. Thereafter, as the changing tastes of Georgian and Victorian audiences and critics found other favourites, it gradually faded from view. Fletcher died in 1625, at the age of 46, of the plague. – Patrick Young, Toronto, 2009  The first production of this version of John Fletcher’s The Taming of the Tamer opened at the Erindale Studio Theatre, University of Toronto Mississauga, on March 20th 2009. It was directed by Patrick Young, assisted by Jenny Salisbury, with original music by Christopher Dawes and choreography by Sarah Jane Burton. The set was by Patrick Young, costumes by Joanne Massingham, lighting by James W. Smagata, and Stage Management by David Vanderlip, assisted by Kathryn Alexandre and Cameron Laurie. THE CAST PETRUCHIO, widowed and newly remarried .............................................................................................. Nathan Bitton MARIA, second wife to Petruchio ................................................................................................................ Devon Healey LIVIA, sister to Maria ................................................................................................................................. Sophia Fabiilli BIANCA, a widow, their cousin (sister to Petruchio’s late wife) ........................................................ Tamara Zdravkovic PETRONIUS, father to Maria and Livia .............................................................................................. Ray-Alan Cameron SOPHOCLES, friend to Petruchio ............................................................................................................... Andrew Tribe ROWLAND, young gentleman in love with Livia ........................................................................................ Darren Turner MOROSO, old rich suitor to Livia ..........................................................................................................Michael Twyman TRANIO, friend to Petruchio and Rowland ................................................................................................ Mark Johnston JAQUES, groom to Petruchio ............................................................................................................... Keegan O’Connor PEDRO, manservant to Petruchio ................................................................................................................. Ramon Vitug THE COUNTRY WIFE ................................................................................................................................. Jocelyn Perry THE CITY WIFE........................................................................................................................................ Rachelle Magil SERVANT, WENCH, DRAUGHTSMAN, DOCTOR, PORTER ............................................................ Andrew Soutter SERVANT, WENCH, WATCHMAN, PORTER ..................................................................................... Philip Stonhouse SERVANT, DRESSMAKER, WATCHMAN ............................................................................................... Jocelyn Perry SERVANT, DRAPER ................................................................................................................................ Rachelle Magil Fight Choreographer & Captain .................................................................................................................... Nathan Bitton Dance Captain .............................................................................................................................................. Sophia Fabiilli Music Captain ................................................................................................................................................ Jocelyn Perry  Part I: In and around Petronius’ manor house, London, about 1611. Part II: Petruchio’s and Petronius’ houses, a couple of days later. The play runs approximately 2 hours and 25 minutes, not including intermission. Characters Petruchio, widowed and newly remarried Maria,1 second wife to Petruchio Livia, sister to Maria Bianca, their cousin, sister to Petruchio’s late wife Petronius, father to Maria and Livia Sophocles, friend to Petruchio Rowland, young gentleman in love with Livia Moroso, old rich suitor to Livia Tranio, friend to Petruchio and Rowland Jaques,2 Petruchio’s groom Pedro, Petruchio’s manservant The City Wife The Country Wife Three Country Wenches A Doctor Two Watchmen Porters Servants THE SCENE: London, about 1611 1 Pronounced “Mar-eye-ah”. 2 Pronounced either “Jake” or “Jake-wees”, depending on the scansion of the individual line. John Fletcher: The Taming of the Tamer Part I – page 1 PART I Act One, Scene One Outside a church; guests departing. Enter MOROSO, SOPHOCLES, and TRANIO, with rosemary, as from a wedding 1 MOROSO God give ‘em joy. TRANIO Amen. SOPHOCLES Amen, say I too. The Pudding’s now i’th proof. Alas, poor wench, Through what a mine of patience must thou work Ere thou know’st good hour more! TRANIO ‘Tis too true. Certain, Methinks her father has dealt harshly with her— Exceeding harshly, and not like a Father— To match her to this dragon Petruchio. I pity the poor Gentlewoman. MOROSO Methinks now, He’s not so terrible as people think him. SOPHOCLES (apart to Tranio) This old thief flatters out of mere devotion, To please the father for his second daughter. TRANIO (apart to Sophocles) But shall he have her? SOPHOCLES (apart to Tranio) Yes—when I have Rome! And yet the father’s for him. MOROSO I’ll assure ye, I hold him a good man. SOPHOCLES Yes, sure a wealthy, But whether a good woman’s man, is doubtful. 1 Rosemary, “for remembrance” (Ophelia), was prominent in the small bunches of herbs and flowers frequently distributed as favours to wedding guests. It was also included in bridal bouquets, friendship testimonials, and funeral arrangements. John Fletcher: The Taming of the Tamer Part I – page 2 TRANIO Would ‘twere no worse. MOROSO What though his other wife— Katharine, it was; that’s she they call’d the shrew— Out of her most abundant stubbornness, Out of her daily hue and cries upon him (For sure she was a rebel) turn’d his temper, And forc’d him blow as high as she? Dost follow He must retain that long since buried tempest To this soft maid? SOPHOCLES I fear it. TRANIO So do I; And so far, that if God had made me woman, And his wife that must be— MOROSO What would you do, sir? TRANIO I would learn to eat coals with an angry cat, And spit fire at him; I would (to prevent him) Do all the ramping, roaring tricks a whore Being drunk and tumbling ripe would tremble at. There is no safety else, nor moral wisdom, To be a wife, and his. SOPHOCLES So I should think, too. TRANIO The bare remembrance yet of his first wife Will make him start in’s sleep, cry out for cudgels, And hide his breeches out of fear her ghost Should walk and wear ‘em yet. Since his first marriage, He is no more the still1 Petruchio Than I am Babylon. SOPHOCLES He’s a good fellow, And by my troth I love him; but to think A fit match for this tender soul— TRANIO His very frown, if she but say her prayers Louder than men talk treason, makes him tinder; She must do nothing of herself: not eat, Drink, say “Sir how do ye do?” or piss, Unless he bid her. 1 Same or mild-mannered. John Fletcher: The Taming of the Tamer Part I – page 3 SOPHOCLES He will bury her— Ten pound to twenty shillings1—within these three weeks. TRANIO: I’ll be your half.2 (gives money) Enter JAQUES with a pot of wine, and PEDRO MOROSO He loves her most extremely, And so long ‘twill be honeymoon. Now, Jaques, You are a busy man, I am sure. JAQUES Yes, certain— This old sport must have eggs. TRANIO That’s right, sir. MOROSO This fellow broods his Master.3 Speed ye, Jaques! SOPHOCLES We shall be for you presently. JAQUES (to Moroso) Oh, my old sir, When shall we see your worship run at ring?4 That hour a standing5 were worth money! MOROSO So, sir. JAQUES Upon my little honesty, your mistress— If I have any speculation—must think This single thrumming of a fiddle Without a bow but e’en poor sport.6 MOROSO Y’are merry. JAQUES Would I were wise too; so God bless your worships. Exit JAQUES and PEDRO TRANIO The fellow tells you true. SOPHOCLES When is the day, man? Come, come, you’ll steal a marriage. 1 Ten to one odds, as twenty shillings equals one pound. (Ten pounds is the annual income for an unskilled labourer.) 2 I’ll stand you half the forfeit in return for half your winnings. (They are making a wager.) [Revels] 3 Eggs were held to fortify the erection. Jaques ‘broods’ his master like a mother hen her chicks. 4 One competition in jousting is to run full speed on horseback with your lance aimed at a ring (sexual). 5 A place in the stands to watch the jousting (also sexual). 6 The female sex organ is the fiddle, male sex organ the bow.