Reviewed: The Taming of the Shrew

When it comes to The Taming of the Shrew I have two clear productions in mind. Ten Things I Hate About You, Heath Ledger (oof!), and a production I saw of this play produced by the RSC. High estimations. However, despite these fond memories, I do always forget how distasteful I find this play. Indeed in this piece a woman is essentially starved into submission and, ultimately, ‘tamed’. Seeing the production by ‘The Lion Theatre Company’ was no different.

Indeed my main criticism is that it was a version of The Taming of the Shrew rather than say, All’s Well that Ends Well, a much less controversial play. However that is a criticism of the choice of play rather than the production and indeed, in this adaptation, I thought they tackled the problem of upsetting any feminists present rather well. Although not as bold as Julia Stiles’s version, and certainly not allowing for the potential of the whole thing being a fantasy (due to this production cutting out the character of the dreamer entirely) it was none-the-less a well thought out and enjoyable play. The cutting of key scenes, including the entire lead up to Katherine’s marriage, made the play less a meditation on the submission of character but more of a farce. Indeed it certainly channelled the spirit of some of Shakespeare’s other great comedies, such as Twelfth Night, playing up to the identity confusion. This was well expressed through Tranio who was excellently cast and produced a stellar performance injecting the play with heaps of energy. The lack of interval, the shortened scenes, and the modern active music during scene changes all added to the great sense of pace the play had.

Certainly I thought that all the casting was strong and well done. Katherine, despite at first taking on the role too strongly, making it hard for the audience to hear what she was saying due to enthused stomping, was rather good. She combined that tricky combination actors often struggle with in Katherine between humanity and pig-headedness. Backed up by a consistent and coherent performance from Bianca, her energy didn’t overpower the play. Petruchio, an extremely difficult character to act, was actually rather brilliantly done. His sustained camp-ness, a feeling added to by the strong stage make-up, and his blatant meanness, came across much more convincingly than the oft attempted ‘loving husband’ version. It was a bold and successful take on the character.

The costumes, lighting and setting, were all simple. I felt that perhaps it might have made the play stronger to have no props at all and embrace the minimalism, as the movement of them did seem to waste time and not add a huge amount to the performance. However, saying that, the final scene, with the three tables, was strong, and indeed an example of props well used. The setting of the Hatfield Dining Hall was exciting – it is enjoyable for students to see plays in interesting and different locations. Despite the room obviously not often used as a stage the cast worked well with the space and, at points, spoke directly to us as an audience. This was impressive as, with its small audience capacity, the focus on interaction should have, and was, played up.

Overall a strong and enjoyable experience and, despite the pangs for Katherine’s loss of independence, the focus on other aspects of the piece counteracted any qualms from the more bitter women among us.