Review: The Taming of the Shrew

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POSTED: 19 NOVEMBER 2009

The Taming of the Shrew, by William Shakespeare

Bell Shakespeare | Bell Shakespeare | Sydney Opera House | Until 21 Nov

The gender politics in Shakespeare’s battle of wills between a fiery tempered woman and her alpha-male husband are contentious, even unpalatable to modern tastes.

Petruchio’s “rougher than usual handling” of his wife can be viewed either as an instance of tough love administered for Kate’s ultimate benefit, or as the subjugation of one person by another in an imbalanced power relationship.

Nonetheless, The Taming of the Shrew remains a comedy — hugely popular with audiences, but problematic for directors.

In her Bell Shakespeare production, Marion Potts turns the tables on the patriarchal order entrenched in the text to offer a politically adjusted vision, with an all-female cast.

Her approach neatly illuminates Shakespeare’s themes of identity and transformation. And it ups the ante in his game of bartered brides, allowing us to evaluate the play’s transactions with a degree of detachment.

Her chosen milieu is the dated, slightly tacky function room of what might be an RSL club, complete with mirror balls and karaoke machine.

The ensemble gives spirited, entertaining performances, with Jeanette Cronin (Petruchio) and Sandy Gore (Baptista) the standouts.

Potts’ interpretation is engaging. But for my taste, her emasculated Shrew sacrifices too much of the usual red-blooded raunchiness found in this romantic romp. Call me unreconstructed if you will, this fare offers plenty of substance but precious little sizzle.

NOTE: Review based on performance at the Theatre Royal, Hobart.

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