Synopsis A duel of the sexes in which the red haired Kate is 'tamed' into marriage and love. Petruchio wants a wife with money and Kate's got plenty of it. But Kate doesn't want to get married at all. She enjoys life on her own terms. Has she finally met her match in Petruchio? But then, has he met his?
The Taming of the Shrew kicks off the summer season at the Open Air Theatre, Regent’s Park. Shakespeare’s battle-of-the-sexes comedy opened on Monday 5 June 2006 (previews from 29 May) and continues in rep until 2 September 2006.
First night critics were divided. While many enjoyed the light-hearted approach to the production, some thought female subjugation was no laughing matter.
Maxwell Cooter on Whatsonstage.com - Rachel Kavanaugh’s excellent production, set in a 1940s Italy, is one of the most romantic interpretations I have seen.” He commented that, in Kavanaugh’s “exuberant” staging, “this is not a play about subjugation but about a couple finding the solace of mutual love… The key strength is John Hodgkinson’s droll Petruchio. Here is no wily fortune-hunter, nor swaggering, macho braggart - but someone who finds himself caught up in adventure… And he’s well-matched by Sirine Saba’s Katherine; not so much a shrew but an unhappy young woman shunned by her father and ill-at-ease in her own family.” According to Cooter, “the action moves at a frantic pace” and “Kit Surrey’s stylish design beautifully captures the essence of a provincial Italian city.”
Dominic Cavendish in the Daily Telegraph - Cavendish enjoyed Kavanaugh’s “fun, warm, nimble-witted production… Here, it's Sirine Saba's Kate who resembles the victor and John Hodgkinson's Petruchio, visibly cracking up and hitting the bottle after his father's death, who's the spent force. The sparkle in Saba's eyes, together with her barely suppressed smirk, lets us see that Kate is quite capable of dragging out the humiliations until her tormentor is blue in the face. She humours him; Petruchio's response to Kate's capitulation is to collapse with pathetic gratitude at her feet. Kavanaugh's interpretation… works beautifully. By discovering a compensating kindness in all the cruelty, the director strikes the perfect balance: the usual sex-war tensions are ably stoked up, but the quick-beating heart of love is heard, too. Their chemistry as they draw closer together still leaves something to be desired, but individually, the leads impress… Among the supporting performances, too, there's much to admire… Wrap up warm, and enjoy.”
Lyn Gardner in the Guardian - Gardner deemed Kavanaugh’s “production of one of Shakespeare's trickiest plays more competent than many at this address: it is clearly spoken, the comedy is adroitly handled and there are strong performances.” However, she thought it was “misconceived in its attempt to turn the play into a 1940s romantic screwball comedy. It is only Katherina who is getting screwed here… The premise of all romantic comedy is that we will find the contrary, mismatched protagonists attractive even when they are doing their best to appear otherwise. But both are almost entirely charmless here, and the portrayal of Katherina as a pyjama-clad child-woman who has not yet outgrown the sibling rivalries of the nursery adds a creepy overtone to Petruchio's ‘taming’, as the mature man takes his child bride in hand.” She added: “There are odd moments when it is more interesting, particularly in the suggestion that in breaking her, he may also break himself, but on the whole Katherina's experience is no laughing matter.”
Fiona Mountford in the Evening Standard - Mountford delighted in “a welcome chance to see one of Shakespeare's least-performed comedies… We can't help but admire the beauty of Kit Surrey's set. We are in 1930s Italy, and Surrey presents us with Piazza Minola, which is authentic right down to the faded, eggshell-coloured street signs. The design stands in perfect alignment with the text: this Padua is a place where men sit in the square, drink grappa and move the women around like chess pieces. No wonder Katherina (Sirine Saba) has taken up shrewery as a hobby. In this phallocentric society, she is used to her pretty, docile younger sister Bianca (Sheridan Smith) getting all the attention. This makes the spirited wooing of Petruchio (John Hodgkinson), initially after nothing more than her ample dowry, a wonderful surprise… The excellent Saba, eyes a-sparkle, shows that Kate realises it is all an elaborate game, to be played out before she settles into wedded fulfilment. The rest of the lively cast project lustily above the noise of flying things feathered and mechanical and Kavanaugh keeps it all nipping along nicely.”
The Taming of the Shrew has undergone a considerable reappraisal in the last couple of decades. While in the 60s and 70s it was derided by feminists as a play about subjugating feminity and the female spirit, it is now looked at far more sympathetically and is seen as a play in which two people find each other and fall in love.
Rachel Kavanaugh’s excellent production, set in a 1940s Italy, is one of the most romantic interpretations I have seen. I did wonder whether post-Mussolini’s Italy was quite the right place to draw attention to the nature of Petruchio’s taming of Katherine, with its dependence on sleep and food deprivation; but such dark thoughts are swept aside with the exuberance of Kavanaugh’s production. This is not a play about subjugation but about a couple finding the solace of mutual love: Petruchio and Katherine are kindred spirits to Beatrice and Benedick, as two people railing against the world.
The key strength is John Hodgkinson’s droll Petruchio. Here is no wily fortune-hunter, nor swaggering, macho braggart - but someone who finds himself caught up in adventure, having to improvise wildly, and although initially tempted by the rich dowry that marrying Katherine will bring him, the money becomes secondary.
And he’s well-matched by Sirine Saba’s Katherine; not so much a shrew but an unhappy young woman shunned by her father and ill-at-ease in her own family. She eventually feels liberated by Petruchio’s treatment of her. When they have their argument as to whether it’s the sun or moon that’s shining, it’s Petruchio who prostrates himself at her feet and is she who raises her arms in triumph at her acquiescence: the image of a young woman finding happiness for the first time.
The action moves at a frantic pace (the rather ponderous opening Christopher Sly scene has been cut) with David Partridge’s Tranio and Dominic March’s Lucentio working their trickery perfectly. Timothy Kightley’s Baptista is no despairing father, desperate to get rid of his daughters, but a tough businessman who sees financial opportunity in an advantageous marriage.
Kit Surrey’s stylish design beautifully captures the essence of a provincial Italian city. It’s a shame that we didn’t have some Mediterranean weather to match the setting, but this is a good start to Regent’s Park summer season.
Perhaps Taming of the Shrew could only have been written by a writer who chose to live away from his wife and family as Shakespeare apparently did. It also takes a very brave director to mount a production without any concession to 21st century values. Here Petruchio is allowed to swagger with almost unchecked misogyny and it is quite uncomfortable to watch Kate's transformation to submissive and compliant wife.
Despite those reservations this is a delightful production, well acted and frequently very funny indeed. This also benefits from exceptionally clear verse speaking making it one of the most comprehensible Shakespeare's I have seen.
Not quite perfect perhaps but a wonderful production and ideal for the outdoors setting of the park. - 62.6.139.13)
01 Sep 06
This production made me wonder, is there any need for this so called director's theatre. Countless times theatregoers have encountered Hamlet set in a public toilet to highlight the claustrophobia of his psychology or Macbeth set in the year 5000 for no apparent reason, just that the director with acne thought it would be a clever idea. If you want to see a production that is to the point, clear and simply tells a good story then go and see this. It is wonderfully directed by Rachel Kavanaugh and there is not a weak link in the cast, you can also get pleasently pissed on your bottle of Rose in the sunshine, what more can you want? - 80.225.112.151)
31 Aug 06
Saw it last Saturday. Wind, rain and cold could not mar our enjoyment nor did it deter the company one iota. Went with friends with some reluctance as usually find the tamed shrew very sad. However, this production gets round that and fills one with genuine joy at the end. For the first time ever with this play I felt I was watching a true love story. Beautiful set, good costumes etc. Do go. - 194.217.194.138)
14 Aug 06
Somehow there's always a slight dread about going to see a production of 'Taming of the Shrew'. What's going to be the line forced on it this time? How will the actress playing Kate try to undercut that problematic long speech of capitulation?
This production though, is irresistible. The sexy italian setting, the action played outside the Baptista family house on a cafe terrace area. Excellent ensemble acting, with a deeply felt connection between Petruchio (John Hodgkinson) and Kate (scrumptious Sirine Saba) that enables both to pick their way through a kind of mutual surrender. Here's a recently bereaved Petruchio who needs this emotional connection, as the cold blue light of his household suggests. While he doesn't duck the mercenary aspect of marrying a rich woman, you feel that he makes discoveries along with Katherine. I resisted this line to begin with but found myself ambushed by the glorious, moving conclusion. Wonderful work from the whole cast, with loud generous performances that are packed with lovely detail and wit - not an easy feat for open air playing. Yes, I missed the (cut) Christopher Sly story, and it's still impossible to sort out all the male names ending in "io". That aside, five stars and plenty of sparklers for this celebratory production. Go see it. - 82.44.76.139)
12 Aug 06
Excellent production, in the ideal setting of the Open Air Theatre. Very impressive stage-set, which is used effectively to add to the impact of various exits and entrances. Superb acting from a well-chosen cast, who complement each other well, as they portray anger, frustration, comedy and eventually love. Sheridan Smith as Bianca, is particularly convincing as the younger, prettier, father's favourite, bullied by her sibling, but starting to turn into a 'shrew' herself, after her marriage!
I would recommend it to anyone who enjoys 'The Taming....', and I shall go and see it again this Summer. - 84.69.16.240)
This open air theatre is only open May to early-September and there is no cover in case of rain. 1187 seats (plus 60 on the grass). Current auditorium since 1975. Member of the Society of London Theatre. Renovated after the 1999 season to include improved facilities.
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