The Taming of
the Shrew is one of Shakespeare’s most
challenging plays to produce. It was written in a different age and we make allowances
for that. But the mistreatment, abuse, humiliation, debasement and almost
dehumanization of a woman is unacceptable in any age.
Directors have tried
to find ways around it and some have been more successful than others. Director
Justin Audibert has hit on the idea of gender change. The men become women and
vice versa. Baptista (Amanda Harris) who has two daughters to marry becomes a
mother with two sons, Katherine (Joseph Arkley) and Bianco (James Cooney) to
send to the altar.
Bianco’s suitors
are Hortensia (Amelia Donkor), Gremia (Sophie Stanton) and Lucentia (Emily
Johnstone). Katherine is wooed by Petruchia (Claire Price) and the rest of the
male characters including most of the servants become women and the reverse.
Aside from
Petruchio’s treatment of the shrew Katherine as he “tames” her, the play has
numerous comic scenes and Audibert exploits them all for laughter. Lucentia
changes places with his servant Trania (Laura Elsworthy) in order to pretend
that she is a tutor and thus gain access to Bianco. When Lucentia needs her
mother Vincentia (Melody Brown) to negotiate the marriage settlement, she gets the
merchant Pedant (Hannah Azuonye) to pretend that she is her mother. Then her real
mother arrives with hilarious consequences.
The old fool
Gremia woos the young Bianco and the clever servants know how to survive their
masters in the best tradition of comedy. You should see Sophie Stanton glide
across the stage! Audibert has the fine cast do justice to all these
complications.
Claire Price
with a big orange wig perched on her head looks almost androgynous as Petruchia
and once she begins her taming mission is relentless. A domineering and
marvellous performance. Arkley’s clean-cut Katherine does not stand a chance
against that virago. James Cooney as Bianco looks almost effeminate with his
long hair while Emily Johnstone as Lucentia is not to be trifled with.
Richard Clews as
Petruchia’s servant Grumio is hilarious as is Amy Trigg as Lucentia’s servant
Biondella. Laura Elsworthy as Trania is also up there.
Audibert does
away with the induction scene, the framing device using Christopher Sly. It can
be put to good use but it can also prove to be a bore.
The company of Taming of the Shrew. Photo: Ikin Yum Photography/RSC
The program
tells us that the play is set in the 1590s where “society is a matriarchy.” The
gorgeous costumes are sixteenth century chic and there is no attempt to allude
to current events or attitudes. Hannah Clark gets full marks for the costumes
that are a pleasure to watch. Women are the dominant sex, of course. For most
of the production this seemed like a pleasant change. We are quite used to
hearing about abused women and perhaps some men may be shocked by seeing
chauvinist pigs get their comeuppance but it has its fun side.
But it is
difficult to swallow the play lock stock and barrel. There is no attempt to
lessen the impact of abuse and humiliation meted on Katherine. He just takes
it. Some irony, some indication of love to make us aware that there is hope for
the couple? Nothing.
Even Katherine’s
final speech “Fie, fie! Unknit that threat'ning unkind brow/ And dart not
scornful glances from those eyes/ To wound thy lord, thy king, thy governor” is
spoken with fervor. There is room for some irony, a gesture, a body movement to
tell us that things are not as bad as they seemed but there is none.
Aside from some
qualms, this is a well-acted and superbly directed production that provides
some unexpected pleasures.
____________
The Taming of the Shrew
by William
Shakespeare played until January 18, 2020 at the
Barbican Theatre, London, England. It now continues its tour in Canterbury,
Plymouth, Nottingham, Newcastle and Blackpool on various dates. Full details
here: https://www.rsc.org.uk/whats-on/
James Karas is the Senior Editor
- Culture of The Greek Press
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