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TNT Theatre
TNT theatre was founded in 1980 in Britain and since has established itself as one of the most popular international touring theatre companies in the world. Last season alone the company produced seven productions in almost thirty countries worldwide, ranging from Shakespeare classics such as ROMEO & JULIET to their own new play HITLER KILLED MY CANARY, from works by contemporary artists such as Paul Auster’s MOON PALACE to the classic seasonal show: Dickens’ CHRISTMAS CAROL.
Since 1993 the company has been in collaboration with the American Drama Group Europe. The artistic director of TNT is Paul Stebbings, whose work has won many awards at, for example, the Munich Biennale, the Edinburgh Festival, the Tehran Festival and from the government of Singapore. Other notable festivals in which the company has participated are the International Off-Broadway Festival in New York, the Tokyo International Theatre festival and the summer festival of the British National Theatre. TNT has also collaborated on co-productions with major venues such as the Athens Concert Hall and the St Petersburg State Comedy Theatre.
The company style aims to integrate all the performing arts. TNT productions always include a specially commissioned score by a leading composer. The director always works with a choreographer and the ensemble actors are chosen for their ability to cross the disciplines of theatre, music and dance.
Press Review
“Astonishingly inventive and wonderfully unpredictable, their visual inventiveness defies description.” - THE SCOTSMAN, Edinburgh Festiva
“TNT embodies all the qualities of British theatre.” - SUDDEUTSCHE ZEITUNG, Munich
“Touring theatre at its best”. - SOUTH CHINA MORNING POST, Hong Kong
“Highly effective and charismatic theatre.” - VILLAGE VOICE, New York.
“The audience were held in a vice like grip from the first moment...the company demonstrate how Shakespeare can be made relevant to the modern world.” - JAPAN TIMES, Tokyo
“If young people need to be persuaded to go to the theatre this is the company to see.” – SUDKURIER, Germany
“Forget the big operas, it is TNT's jazz drama that is the hit of the Biennale.” - F.A.Z, Frankfurt
“The best Hamlet I have seen in nearly thirty years as an international critic.” - IRAN ITI THEATRE MAGAZINE, Tehran.
“The most entertaining play at this year's festival.” - THE LIST, Edinburgh.
“Despite the fact that the company performed in English the state comedy theatre was packed out every night. We have seen nothing like this dynamic style of theatre.” - ENTRE ACT MAGAZINE, St Petersburg.
International Tour of TNT Theatre
TNT has toured to almost every corner of Britain, from London's National theatre to Scottish village halls. The company has received regular subsidy from the Arts Council of Britain and the British Council. TNT's music theatre version of Shakespeare's KING LEAR recently toured the UK to an outstanding critical reception.
TNT, in collaboration with ADGE has dominated English language theatre in Germany since 1993 giving over 500 performances a year.
TNT gives some fifty performances a year in major theatres of Switzerland and Austria.
TNT has been touring Japan since 1992 and has given more foreign language performances in more venues than any other non-Japanese company.
TNT is the only English Language theatre to perform regularly in major theatres nationwide in France.
TNT has toured Scandinavia since 1986 and the summer castle tour is particularly successful.
TNT's first foreign performance was in Amsterdam, Holland in 1981. This has evolved into a regular circuit in Belgium and Luxembourg, where they are the leading foreign theatre ensemble
TNT works in high profile venues and festivals with the cooperation of the Athens Concert Hall, and the Volos Centre for Music Theatre of Greece.
TNT presents on average 12 weeks of performances a year in the Czech Republic and performed in Slovakia in 2004 and 2005. The company has been toured regularly in Poland from 1989 until 2007.
TNT toured Russia from 1990 – 1997, and toured Ukraine twice, being the first foreign theatre company to perform in several Ukrainian theatres since the Revolution.
TNT performs annually in the Gulf states of Kuwait, Abu Dhabi, Bahrain and Dubai. At the Fajr Festival in Tehran (the Muslim World's largest Arts Festival) TNT won first prize for HAMLET in 2004. 3000 people saw HAMLET in Iran and 2000 visited MACBETH in Kuwait.
TNT has performed in either Singapore or Hong Kong every year since 1994, and received Singapore National Youth Arts Achievement award in 2004.
TNT has presented theatre on two occasions in the USA. In 2006 TNT toured to Central America sponsored by Costa Rica's Cafe Britt. A tour of MACBETH is planned in autumn 2007 and two co-productions in Costa Rica and Peru are under way.
TNT's first performances in China mainland were in November 2005 when MACBETH was presented in Shanghai at the Dramatic Arts Centre. In 2007, presented by Milky Way Arts & Communications Co. Ltd, TNT toured Beijing, Shanghai and Hangzhou with Oliver Twist and A Midsummer Night’s Dream.
The Taming Of The Shrew – synopsis of TNT version
Induction scene:
outside “The Shakespeare” a modern English pub, Sly, a poor drunk, argues with the pub’s landlady and then passes out. Spotted in his drunken state of unconsciousness, a passing group of modern day hunters decide to play a joke on him. Back in the smart home of one of the wealthy hunters, Sly has been dressed in fashionable clothes and is convinced by the hunters’ grooms that he is a wealthy man recovering from a period of madness where he believed himself to be Sly, a poor drunk. Sly becomes convinced, even by one of the male grooms dressed up as his wife. Overcome by this discovery, Sly is told he must rest.. He once more falls into a drunken sleep and begins to dream. The dream:
Act 1, scene 1:
In a magical, colourful Renaissance Padua, a student, Lucentio, complains of the time he is wasting in his studies and how he wants to practice the philosophy of pleasure. Through his study window, he sees a beautiful young woman, Bianca, and falls in love. Bianca is with her father, Baptista, and two suitors – an old man Gremio and a young man Hortensio. The hopes of the two suitors are seemingly dashed when Baptista announces that one of them can marry Bianca only when they have secured a husband for his other daughter, Katherina, who is a “shrew”, combative, strong-willed and argumentative. Katherina is furious that a marriage of any kind might be arranged for her, so any wedding to Bianca is off until Katherina can be persuaded to change her mind. Bianca is to return to her musical and other studies. Gremio and Hortensio agree to join forces to get Katherina a husband. Lucentio vows to disguise himself as a music teacher and gain access to Bianca in order to secretly woo her.
Scene 2:
A flashback in which we see a great sea battle (piracy pretending to be war) between Italian troops led by Petruchio, (an overblown and self-exaggerating soldier), and Turks. In the battle Petruchio and his men defeat the Turks, but then accidentally drop the Turns’ gold into the sea. Petruchio horrified and impoverished. (Sly appears in his own dream as Petruchio.)
Petruchio arrives in Padua with his servant, Grumio – arguing furiously and nonsensically with Grumio. Petruchio is met by Hortensio, who explains to him the opportunity to woo Katherina and win her dowry (a gift of money promised by Baptista to whoever will be Katherina’s husband) . Petruchio is ready for the challenge, not put off by Katherina’s reputation, and interested in the money. They exit.
Gremio and Lucentio, Lucentio now as a schoolmaster (unbeknown to Gremio), to gain access to Bianca. Hortensio explains to Gremio that he has found someone who will woo Katherina. Petruchio is introduced to Gremio and is contemptuous of the problems Gremio suggests he might have with Katherina.
Act 2, scene 1:
In Baptista’s house, Katherina is spitefully bullying her sister Bianca, blaming Bianca for the men’s efforts to find a husband for Katherina. Baptista enters and chastises Katherina and sends Bianca to her studies.
Old Gremio enters with Lucentio, disguised as a Latin teacher. Petruchio enters with his friend Hortensio, also disguised as a music teacher and is introduced to Baptista. Petruchio explains his interest in Katherina. Baptista welcomes Petruchio, recognising his family. Baptista sends Lucentio and Hortensio (both disguised) off to teach his daughters, but soon Hortensio is back – Katherina has broken a lute over his head. Petruchio is all the more determined.
Petruchio is left alone and Katherina enters. Immediately he engages her in a battle of words, seeking to better her in everything she says. There’s a verbal combat of wordplay, Petruchio making fun of Katherina’s reputation and saying she is not half the shrew she was supposed to be, but “passing gentle”.
Baptista and Gremio re-enter to see how Petruchio is getting on. Katherina’s spirit has not been broken, but Petruchio tells the men to be patient, for while in public may be shrewish in private she has declared her love for him and they will be married shortly – and sets the date!! Katherina storms off. Hortensio (out of disguise) argues with Gremio over who is to have Bianca for a wife – Baptista says he will choose whoever offers the most money for her (“greatest dower”).
Act 3, scene 1:
In Baptista’s house Hortensio and Lucentio attempt to woo Bianca (while both in disguise as teachers). Lucentio is much the more successful of the two, managing to express his love between his teaching. Bianca is attracted to him, and echoes his feelings. Hortensio’s wooing is rebuffed. Hortensio is very suspicious of the disguised Lucentio.
Scene 2
This is the day when Petruchio and Katherina are due to be wed. Baptista enters with Katherina, Gremio, Bianca, and Lucretio (in disguise) – but there is no sign of Petruchio, humiliating Katherina even more than before - publicly. Hortensio arrives to announce that Petruchio is on his way, but dressed for his wedding in eccentric and provocative rags, his servant Grumio dressed like a horse. Petruchio enters, as if on horseback, carried by Grumio. Despite this Baptista still welcome him as Katherina’s bridegroom. Petruchio insists that this is how he will be married. All set off to the wedding.
The wedding is performed – Petruchio behaving scandalously - hitting the priest and passionately kissing Katherina. The wedding party emerges, but rather than celebrate Petruchio announces that he is leaving. At first Katherina refuses to accompany him. But with drawn sword Grumio, and Petruchio, take Katherina away.
Bianca believes ‘mad’ Katherina is well suited to a ‘mad’ Petruchio. Not realising that Bianca’s affections lie elsewhere, Baptista suggests that Hortensio and Bianca replace the real bridegroom and bride at the wedding feast.
Act 4, scene 1:
Petruchio’s military camp. Grumio is found complaining to another servant, Curtis, of the woes of serving Petruchio. We see, acted out, Grumio’s tale of how Katherina has fallen from her horse, fought with Petruchio, Grumio has been beaten, and how all their horses ran away.
Petruchio enters, shouting at his servants. Katherina tries to defend the servants. Petruchio refuses the dinner and calls Katherina to bed, hungry. We see Petruchio taking Katherina to bed, where he is bad tempered and unreasonable until she falls asleep from exhaustion. Petruchio confides in the audience that this is all part of his plan.
Scene 2:
Gremio and Hortensio (in disguise) enter. Gremio is surprised to hear that Bianca has fallen for someone else. They observe Bianca enter with the disguised Lucentio - clearly infatuated, in love with each other. Hortensio reveals his true identity to Gremio – and he and Gremio swear to abandon any interest in Bianca, Hortensio saying that he will now marry a wealthy widow who has been pursuing him. Lucentio – who has been eavesdropping on Gremio and Hortensio – reveals this to Bianca, and now they can wed, thanks to Petruchio. But Bianca reacts badly at Lucentio’s apparent admiration of Petruchio’s ‘taming’ of Katherina. Bianca reveals that she does not approve of such behaviour and shows the first signs that she may have some of her sister’s temperament. Lucentio tells Bianca that now he must disguise himself as his own father (Vincentio) in order to let Baptista know that he, Lucentio, is wealthy, and thus get Baptista to give permission for him to marry Bianca. He sends Bianca away, but she is not very happy about her dismissal. After a moment’s uncertainty (about his own legitimacy! - he does not resemble his father), Lucentio sets off to make his disguise.
Scene 3:
In a military camp. Katherina is being kept without food – treated worse than a beggar, she says – and even deprived of sleep. Grumio has been sent by Petruchio to to bait Katherina, seeming to offer her food and then withdraw the offer. Petruchio enters with food, he forces Katherina to thank him humbly before giving her the food, but when she does he gives it to Grumio instead. A tailor enters with hat and gown for Katherina, dressing Katherina according to Petruchio’s orders, but Petruchio even terrorises the tailor. Once he has dressed her – most eccentrically, Petruchio declares that it is time to take Katherina to her father’s.
Scene 4
Back in Padua, Bianca humiliates the old Gremio and falls into the arms of her beloved Lucentio. Hortensio, also humiliated observes the scene and vows to give up Bianca and marry a rich widow.
Scene 5:
On the road to Padua, Petruchio, Katherina and Grumio have stopped. Petruchio forces Katherina to call the sun the moon,and when she does he rebukes her and demands she see it is the sun. Katherina has been broken. She will agree whatever Petruchio asks. “The field is won.” They are about to continue for Padua when along the road, heading for Padua, comes an old man. At first Petruchio, in his usually perverse way, greets the man as if he were a young woman. And Katherina joins in the sport. Petruchio then rebukes her for not recognising that this is an old man. Katherina surrenders and agrees to see the world through her husband’s eyes. They set off for Padua together – by boat.
Act 5, scene 1:
Padua again.
In a mime and music sequence (dumb shows) Bianca and Lucentio marry.
Katherina and Petruchio arrive in Padua and at last he becomes romantic. They kiss in the street – Katherina, for the first time, showing real affection for Petruchio.
Scene 2:
The couples enter. Bianca and Lucentio, Petruchio and Katherina ,Hortensio and his Widow – who is bad-tempered – they are just married. Lucentio makes the wedding speech, doing his best to sound happy. Petruchio heckles. Katherina and the Widow clash, Katherina urged on by Petruchio. Bianca, Katherina and the Widow exit together. Petruchio laughs at Hortensio for failing to win Bianca, but Hortensio laughs at Petruchio only getting a “shrew”. Petruchio bets both Hortensio and Lucentio that he has the most obedient wife. And, sure enough, when a servant is sent to fetch the women, the Widow and Bianca send excuses, but Katherina comes immediately, saying that the other two are sitting, talking, by the fire. Katherina fetches Bianca and the Widow and, at Petruchio’s request, Katherina lectures the other two women on their obligations as a wife – to serve and not to rule, to be “soft” and not to imitate men – husbands are the kings of their families, each family an image of the wider social order. But she offers her hand to trod on by Petruchio this is enough and he raises her to kiss her and they go “to the marriage bed”. But we also see that Katharina has been arming Petruchio for a return to war. This is the type of society that emerges when women “stand by their man” in any circumstances.
Finale:
Sly awakes from his dream and finds himself, dumped in the road, outside the pub. He is found by the pub’s landlady, just as he awakes. Sly realises that it has all been a dream. But tells the landlady he has nothing to fear when he gets home to his wife, for his dream has taught him how to ‘tame a shrew’. But his wife appears, a terrifying figure with a rolling pin, roaring “Sly!”
Note: Text for finale from the quarto TAMING OF A SHREW (Not THE Shrew)
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