(Above and below: Scenes from Toni Pimble and Eugene Ballet’s world premiere of William Shakespeare’s, The Taming of the Shrew.)

By Randi Bjornstad

To tell the truth, William Shakespeare probably would have liked — even attended — Eugene Ballet Company’s production of his The Taming of the Shrew.

After all, the Bard was not a stuffy sort of guy. He  has been described variously as “creative with his ideas,” “open-minded,” “passionate,” having “excellent fancy” and “brave notions,” being “exceptionally creative and unusual,” and having “the courage to wander from the beaten path.”

Just the kind of character who, had he lived in current times, might have produced a steampunk and dance version of The Taming of the Shrew.

But since he’s not here to do it himself, Eugene Ballet has done it for him.

Toni Pimble and her company will perform their world dance premiere of Shakespeare’s story on May 14 and 15, 2022, on a stage with steampunk sets and costumes and performed to music by Louise Farrenc, played by Orchestra Next.

The full-length ballet includes brand-new sets by architect Paul Dustrud, more than 60 costumes designed by Pimble, set pieces by metal artist Joe Mross of Archive Designs, Pimble’s contemporary choreography, and lighting design by Michael Peterson.

All that raises a few questions:

What is steampunk?

One online definition of steampunk is “a genre of science fiction that has a historical setting and typically features steam-powered machinery rather than advanced technology.”

And it goes on to say, “a style of design and fashion that combines historical elements with anachronistic technological features inspired by science fiction,” which includes “homage to vintage fashion with a modern, sassy twist.”

Then, of course, who is Louise Farrenc?

Not, as you might suppose, a super-modern, 21st-century, take-no-prisoners woman composer.

In fact, Louise Farrenc was born in France in 1804 and spent much of her life composing, playing the piano, and teaching. By the age of 15, she had become adept at composing and was so impressive that she was admitted to the Paris Conservatory, where she completed her musical studies.

After that, she became a concert pianist, and in 1842 was hired to be a professor at the Paris Conservatory, the only woman in the 19th century to have that distinction. She stayed there for 30 years and was renowned as one of the greatest piano professors in Europe.

She also became a well-known composer of symphonies, overtures, and chamber music, including two famous piano quintets.

Even with all that, perhaps it won’t come as a surprise that she was overshadowed in her time by many men whose talents and accomplishments did not equal hers, and she spent her career fighting for equality of opportunity — and compensation — for herself and other women.

And what about Orchestra Next?

Orchestra next, led by conductor Brian McWhorter, is the Eugene Ballet’s resident orchestra, having played every performance of the company’s annual production of The Nutcracker since 2012 and also worked with the ballet company on many of its premiere productions, including The Great Gatsby, Peer Gynt, and The Firebird as well as playing national anthems at the World Indoor Track & Field medal ceremonies and accompanying performances of Eugene Opera, Eugene Concert Choir, Soromundi Lesbian Choir of Eugene, and the University of Oregon’s Theater Department.

As a “training orchestra” — not to be confused by a software company  of the same name — Orchestra Next offers opportunities for talented and aspiring young musicians to work with professionals in the performance field, to hone their skills and further their careers.

Eugene Ballet:  The Taming of the Shrew

When: 7:30 p.m. Saturday, May 14 and 2 p.m. Sunday, May 15

Where: Silva Concert Hall, Hult Center for the Performing Arts, One Eugene Center (7th and Willamette streets), Eugene

Tickets: $15-$60, available at the Hult Center box office, 541-682-5000, or online at hultcenter.org

Information: eugeneballet.org