'Arf, arf!' quoth Shakespeare Theatre 'actress'

• Published in: Knight Ridder Tribune News Service p. 1
• Main Author: Harper, Shannon B
• Format: Newsletter
• Language: English
• Published: Washington Tribune Content Agency LLC 05.07.2002
• Subjects: Giarrusso, Michele

Little Jill has been trained to perform in any setting, whether it is in front of a camera or thousands of people. Accordingly, Little Jill receives all the glitz and glamour that show business can provide. In nearly every production Little Jill has been part of, she has had her own personal dressing room as well as quiet space where she can spend time "playing, reinforcing skills, walking, sometimes taking a nap or having a bit of fun," [Michele Giarrusso] said. With every production, a negotiated contract ensures the same protection, care and kindness that human actors receive. A bag full of tricks is not all Little Jill has to offer, she also has a few unscripted tricks up her sleeve. For example, during "The Two Gentlemen of Verona" King tried desperately to get Little Jill's attention, but she repeatedly refused to acknowledge his existence. Every time King tried to make eye contact with Little Jill or make a personal connection or cause a reaction, she turned her head to the opposite direction of where he was standing. When he was on the right, begging and pleading for her consideration, Little Jill turned her head to the far left, tongue candidly hanging out of her mouth, nonchalantly waiting for him to leave her alone. Though this was not in the script, it was a coupling of doggy intuition and a strong relationship between Floyd and Little Jill, Giarrusso said. When Little Jill was on stage, she depended entirely on King's commands. Throughout the play, King asked Little Jill to carry his drumstick, give him a kiss, high-five, and spin around in circles.