GET THAT HOPE – REVIEW OF 2024 STRATFORD FESTIVAL PRODUCTION

Reviewed by James Karas

Get That Hope is a new play by Andrea Scott that received its world premiere in the Studio Theatre of the Stratford Festival. It is the author’s first play to be produced at Stratford and that is good news.

The play may be described as “Scenes from the life of an immigrant Jamaican family in Toronto” and it should resonate with the experience of many other immigrant groups. As the lights dim in the theatre, we see a man on the stage, facing the audience and we hear what sounds like the land acknowledgement message and then we are asked to stand up for the national anthem. We are not sure about what is going on but we dutifully stand up. Music starts playing and the man sings the national anthem of Jamaica.

The singer is Richard Whyte (Conrad Coates), a proud Jamaican living in Toronto with his wife Margaret (Kim Roberts) and their son Simeon (Savion Roach). Richard has a daughter from a previous marriage, Rachel (Celia Aloma). Millicent Flores (Jennifer Villaverde), an immigrant from the Philippines and a caregiver who lives upstairs is also present. 

                        Conrad Coates as Richard Whyte in Get That Hope. 
                             Stratford Festival 2024. Photo: David Hou.

The family lives in a small living room and kitchen in Toronto’s Jamaica Town. It is poorly airconditioned and the couches are covered with plastic, a hallmark of immigrants’ protection of their furniture. The set and costumes are intelligently designed by Sarah Uwadiae.

Fissures in the family relations emerge quickly and as may be expected almost all the members of the group have problems. Richard is the eternal optimist trying to keep the family together. But he is unemployed, accused by his daughter Rachel of being an unloving father. He is uncertain of the way he will survive when Rachel, the only working member of the family, leaves. Coates tries to “get that hope” despite serious obstacles. 

Rachel offers to buy a condominium with earnings from three jobs. But the developer goes bankrupt and she runs the danger of losing her substantial deposit. There is tension between her and her father and Margaret her stepmother. Revelations show that her hatred of them is unjustified.

Simeon, a former soldier suffers from PTSD caused by a horrible incident while he was in a combat situation. He is unemployed, uncommunicative and unfriendly. He is having an affair with Millicent but she rejects the idea of living with him. Roach presents the gruff, unlikable misfit well.

 Millicent is perhaps the least dysfunctional person and we look to her for the voice of reason.

The issues of the dysfunctional Whyte family unfold for about an hour and a half and Scott puts an end to them rather quickly without much of an explanation or resolution.  No doubt we are to take some of the revelations as redemptive but I am not sure to what extent that is developed. One of the issues of the performance is that it was not always comprehensible. I am not sure if it was simply the accent or the use of Jamaican patois but there it was. There was some rumbling that sounded like an earthquake or thunder but I did not understand what it was.

The lives of immigrants in Toronto matter a great deal and they simply do not get the attention that they deserve. We owe a debt of gratitude to Andrea Scott for her salute to immigrants from Jamaica.
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Get That Hope by Andrea Scott opened on August 10 and will run in repertory until September 28, 2024, at the Studio Theatre, Stratford, Ontario. www.stratfordfestival.ca

James Karas is the Senior Editor, Culture of The Greek Press

THE GOAT OR, WHO IS SYLVIA? – REVIEW OF 2024 STRATFORD FESTIVAL PRODUCTION

Reviewed by James Karas

The Goat or, Who is Sylvia? is a play by Edward Albee that has a shocking theme that does not lose its power even after several viewings. Sylvia is a goat that Martin (Rick Roberts) falls in love with and has sexual intercourse with. That is no doubt beyond the comprehension of most of us (I hope) but Martin defends his actions and tries to explain the genuineness of his feelings for the animal.  

The Stratford Festival gives the play an outstanding production with a superb cast directed by Dean Gabourie. It is playing in the small Studio Theatre for reasons that I do not know. It deserves a larger venue. 

Martin (Rick Roberts) is a successful architect, a private school alumnus, assigned with a huge project to build an entire city in the American Midwest. He is 50 years old. His wife Stevie (Lucy Peacock) is beautiful, smart and classy and they have a happy and successful marriage Their teenage son Billy (Antony Palermo) is gay but that may not be a huge issue. Ross (Mathew Kabwe) is Martin’s friend of 40 years and he is doing a story about his friend as a person of interest.

In the opening scene, Martin discloses to is friend that he is in love with Sylvia, a goat, and is having sex with her. Ross then tells Stevie and there is an explosion that will last with almost relentless drama, comic and emotionally wrenching events to the shocking end of the play.

The acting is stupendous. Martin, dressed in a suit with his school tie, is nervous, forgetful, fidgety and a man with a huge problem. Roberts’ performance brings out Martin’s agony, passion, anger, turmoil and attempts at explanation and self-justification. This is acting on an emotional tightrope without any relief.

Lucy Peacock gives a defining performance as the shocked wife Stevie. She goes through a gamut of emotions that is stunning to watch. She is angry, sarcastic, acerbic, and witty. She breaks mantel pieces and furniture to control her furor. She gives a performance of power, conviction and splendor that one rarely sees and is privileged to witness.

Rick Roberts as Martin and Lucy Peacock as Stevie in The Goat or, Who is Sylvia?. 
Stratford Festival 2024. Photo: David Hou. 

Ross is akin to the Chorus or Perhaps the Messenger in Greek tragedy who sets the action in motion and appears at the end for the denouement. Kabwe gives an excellent performance.

Billy, a student at an upscale private school makes several appearances and discloses a troubled relationship with his father. Kudos to Palermo for his performance.

The single set by Shawn Kerwin consists of a well-appointed, all white living room with four easy seats and bookcases with knick-knacks.

The play has powerful, literate, dramatic, salty and witty language that has the impetus and inevitability of a tragedy in the original sense of the word. It kept me glued to my seat for one hour and forty minutes without an intermission.

Director Gabourie deserves credit for the taut performance that he masterminds.

Tragedy as a theatrical genre was born in the plain of Attica about twenty-five hundred years ago. The word means goat song and Albee is not relying on a lurid story about a modern architect doing something unthinkable. The role of goats in Ancient Greek tragedy is unknown but the sacrifice of goats in the theatre has often been suggested.

If you do not know the ending of The Goat, I will not disclose it but it may throw your imagination to performance on the foothills of the Acropolis a long time ago. Near the end, Martin gives three cries of despair as he realizes the enormity of his actions. I imagined hearing the voice of Thespis, the first actor on stage in ancient Athens in 534 B.C. as he cried out in anguish when as Oedipus, he realizes that he killed his father and married his mother.

That is the pedigree, however imaginary, I prefer to ascribe to The Goat or, Who is Sylvia? and the current production at the Stratford Festival.  

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The Goat or, Who is Sylvia? by Edward Albee opened on August 9 and will ran until September 29, 2024, at the Studio Theatre, Stratford, Ontario. www.stratfordfestival.ca

James Karas is the Senior Editor, Culture of The Greek Press

THE PIRATES OF PENZANCE – REVIEW OF 2024 GLIMMERGLASS FESTIVAL PRODUCTION

Reviewed by James Karas

Gilbert and Sullivan’s The Pirates of Penzance is this year’s “light” entertainment offered by the Glimmerglass Festival. We get a vibrant, enthusiastic, well-sung and simply delightful production of a classic operetta that is near the top of its genre.

These “pirates”, in case you have not met them before, are flying their skull and cross flag not in the Caribbean or South Pacific or the high seas. They ply their profession off the coast of Cornwall, England and they follow a strict moral code that leaves them broke. For example, they will not steal from or interfere with orphans. And they quickly find out that all English merchant ships are manned by orphans.

One of the pirates is a young man called Frederic (Christian Mark Gibbs) who was supposed to be apprenticed as a pilot but his nurse Ruth (Eve Gagliotti) made a phonetic error and apprenticed him as a pirate! (Where is Professor Higgins when you need him?) Frederic is bound to serve on the pirate ship until his 21^st birthday and he respects and abides by his duty and waits for his 21^st birthday to be discharged. But he was born in  a leap year and has a birthday every four years on February 29. Oops!

We have a hero with a chronological disorder but also a hero who has not seen a pretty woman  until his eyes fall on Mabel (Elizabeth Sutphen) and he falls in love with her. She is not just a pretty face and a lovely voice but the daughter of  the very model of a Major-General Stanley (Troy Cook) which gives her class. 

 The Glimmerglass Festival 2024 Production of The Pirates 

of Penzance. Photo by Sofia Negron/The Glimmerglass Festival

The Pirates has the rigorous demands of an operetta. The plot is comic, farcical, bouncy and demands disciplined performances by the leads and the chorus. The patter songs sound wonderful but they are not easy to perform. The Glimmerglass Festival production under director and choreographer Sean Curran and conductor Joseph Colaneri with the Glimmerglass Festival Orchestra and Chorus  put together and maintain a lively, funny and delightfully entertaining rhythm and pace.

Christian Mark Gibbs as the naïve, heroic and loveable Frederic has a superb tenor voice and we root for his upstanding respect for duty and his love for Mabel. Troy Cook gets the juicy role of Major-General Stanley and delivers the famous patter aria “I’m the Very Model of a Modern Major General.” It’s a long and tough slog getting all those rhymes and unfamiliar words in but Cook handles the whole thing with aplomb.

His daughter Mabel as the heroine who gets the heroic Frederic is exactly what the audience wants and precisely what the hero deserves. Ruth is another wonderful role and Ruth Gigliotti takes full advantage of its comic opportunities and vocal demands. Craig Irvin shines as the proud Pirate King.

The pretty young maidens make a beautiful chorus as do the policemen under their Sergeant (Joshua Thomas). Combined with the verve of the Glimmerglass Festival Orchestra under Colaneri, we got a wonderful evening at the opera on the shores of Lake Otsego.

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The Pirates of Penzance by W. S. Gilbert and Arthur Sullivan is being performed as part of the Glimmerglass Festival at the Alice Busch Opera Theater, Cooperstown, New York. Tickets and information (607) 547-0700 or www.glimmerglass.org

James Karas is the Senior Editor, Culture of The Greek Press

LA CALISTO and ELIZABETH CREE - REVIEW OF 2024 GLIMMERGLASS FESTIVAL PRODUCTIONS

Reviewed by James Karas

LA CALISTO 

In 1651 when Francesco Cavalli’s La Calisto premiered in Venice, opera had been around for only a bit more than fifty years. The subject that his librettist Giovanni Faustini chose was from Greek mythology which at the time was almost the sole source of plots and remains so today if to a much lesser extent.

La Calisto deals with the relationship among mortals, demigods and deities, a popular subject. In this case, Jupiter the chief god is in Arcadia and he sees the beautiful nymph Calisto. There is no polite way of saying it, but he wants her. Callisto is a follower of the goddess  Diana who is sworn to chastity and Jupiter cannot have what he wants. His son Mercury has an idea. Why doesn’t Jupiter change into a Diana-look-alike and attempt to seduce Calisto? Great idea and not only does it work but Calisto enjoys it. Diana is furious and threatens to banish Calisto.

The opera has fifteen roles including Nature, Destiny, Eternity, a couple of Furies and five Dancers. The main characters are the beautiful nymph Calisto (Emilie Kealani), Diana and Jupiter-as-Diana (Taylor Raven), Endymion (Kyle Sanchez Tingzon), Juno (Eve Gigliotti), Jupiter (Craig Irvin), Mercury (Schyler Vargas), Linfea/Destiny (Winona Martin) and Pan (Namarea Randolph-Yosea.)  

Emilie Kealani as Calisto and Craig Irvin as Jove - 
Photo by Brent DeLanoy / The Glimmerglass Festival.

Jupiter’s fun with Calisto is ruined by his harridan wife Juno who complains about his serial infidelities and turns Calisto into  a bear. But love or maybe lust is a mainstay of the opera. The not-so-young Linfea reconsiders her devotion to virginity while the Younge Satyr (Amanda Sheriff) offers his services to her only to be unceremoniously rebuffed. The handsome shepherd Endymion is attractive but unsuccessful. Pan enters ready to go after Diana. There are conflicts and compromises and there is a happy ending! Calisti is turned into a star – Ursa Minor and all is over.

The opera is sung through with harpsicord and full orchestra accompaniment. The plot complications are not always clear but the beauty of Cavalli’s music and the singing never fail or falter. They provide a delightful performance.

The costumes by Carlos Soto are what you may imagine gods, nymphs and satyrs should look like and the sets are similarly opaque classical imagery.   

Rob Ainsley conducts the Glimmerglass Festival Orchestra and brings out the best in Cavalli’s beautiful and varied music.

Mo Zhou directs the lustful gods and demigods and worshippers of chastity in a work that is from the earliest day of opera and worth  seeing today.

ELIZABETH CREE

We jump from 1651 to 2027 for Elizabeth Cree.  a new opera with music by Kevin Puts and libretto by Mark Campbell. The summary in the Glimmerglass Festival program provides the following information:

Set in London in the 1880s, this highly suspenseful and theatrical opera interweaves several narratives: the trial of the titular heroine for the poisoning of her husband; a series of brutal murders committed by a Jack the Ripper-style killer; the spirited world of an English music hall; and, finally, some “guest appearances” by luminaries from the Victorian Age.

The opera opens with a hanging of a woman on April 9, 1881. The production is very precise on dates and they are projected on the side of the stage. One can hardly ask for a more dramatic and startling opening. The prisoner is Elizabeth Cree and her crime is the murder of her husband.

The startling opening, the dramatic music and the promise of the summary should provide an outstanding performance. It did not. My reaction to the opera was one of almost complete inability to relate to the plot and consequently not enjoy the music or anything about the performance.

After the hanging scene, we go back to Elizabeth’s youth and to 1878 where she visits a music hall and is taken in by the performers. 

John Chest as John Cree and Tara Erraught as Elizabeth Cree. 
Photo by Brent DeLanoy/The Glimmerglass Festival.

Forward to 1880 where an entry in John Cree’s diary records the brutal murder of a prostitute. Panic strikes the city and a Scotland Yard inspector discovers that the victim went to the reading room of the British Museum. He interviews novelist George Gissing who is doing research there.  

It is February 1881 and Elizabeth's trial for the murder of her husband John Cree.

April 1878, back to the Music Hall where she performs and meets John Cree, playwright and critic. On September 12, 1880, we check John’s diary with an entry that he murdered a Hebrew scholar. Two days later Karl Marx is interviewed, February 1881 in court we hear the suggestion that Elizabet poisoned John. Back to the Music Hall in November 1878 where Elizabeth has become a star performer. 

By this time, we have gone through 12 scenes out of a total of 29. But we continue with more murders, more searches for the culprit and on a happier note John proposes marriage to Elizabeth and she accepts. There is a wedding party. The fun is over because Elizabeth refuses to consummate the marriage. John goes to the British Museum; sees Karl Marx and we have finished 20 scenes.

This summary alone makes it clear that I was bored out of my mind. The music distracted me  a bit from the plots, however many there are and from the constant changes in venue and time, but not enough. No doubt Puts and Campbell’s opera has many admirers but I do not count myself as one.

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La Calisto by Francesco Cavalli and Elizabeth Cree by Kevin Puts continue in repertory at the 2024 Glimmerglass Festival in the Alice Busch Opera Theater, Cooperstown, New York. More information at: www.glimmerglass.org

James Karas is the Senior Editor, Culture of The Greek Press 

PAGLIACCI - REVIEW OF 2024 GLIMMERGLASS PRODUCTION

 Reviewed by James Karas

The Glimmerglass Festival is at it again with an interesting array of four operas (and a few other things that I did not see) on the beautiful shores of Lake Otsego near Cooperstown, New York. This year it offers something from near the birth of opera (Francesco Cavalli’s La Calisto, 1651), a wildly entertaining operetta (Gilbert and Sullivan’s The Pirates of Penzance, 1879), a classic opera (Leoncavallo’s Pagliacci, 1892), and a new work (Kevin Puts’ Elizabeth Cree).

Pagliacci, as the whole world knows, is a melodramatic opera full of passion, jealousy, infidelity and in the end tragedy. It involves a troupe of travelling players where Nedda (Amber R. Monroe), the wife of the lead player Canio (Robert Stahley) is in love with Silvio (Jonathan Patton). Then we have the nasty Tonio (Troy Cook) who is in love or maybe lust with Nedda but is rudely rebuffed by her. He takes his revenge by telling her husband about her affair with Silvio.

Pagliacci receives a rich, robust and beautifully sung production directed by Brenna Corner. She uses a full chorus of adults and children that adds vocal splendor and dramatic fervor to the production. After all the commedia dell’arte play put on by the travelling players entertains a whole village and the production brings the village and the community on stage.  

Soprano Monroe as Nedda, the unhappy, unfaithful wife of Caino, has a rich and lustrous voice and can be passionate when expressing her love, fearless when approached by an unwanted lover and scared of her vicious husband. She sings with passion and unerring beauty.

 

Robert Stahley as Cania putting on his clown makeup.  

Photo; Sofia Negron, New York

Canio as the leader of the troupe and the jilted and understandably jealous husband crosses the line between acting and reality as his suffering overflows his ability to contain his furor as an actor, He is jealous as an actor and as a human being and the two become one with tragic consequences. It is not easy to sympathize with him except when he pours his heart out in “Vesti la giubba” with deeply felt agony amid the necessity to laugh like a clown. Outstanding singing and acting in an overall bravura performance by Stahley.

The playboy Silvio and the troubled Nedda sing passionately about their love and plan to escape. Their love duet is sung with vocal splendor and emotional depth. We can’t help but cheer and fear for the characters and admire the performances of Monroe and Patton. Kudos to Fran Daniel Laucerica for his performance as Peppe.

The set by Scenic Designer James Rotondo shows the ramshackle living conditions of the travelling players that changes into the playing area for the commedia dell’arte play being staged in the village. It works remarkably well.

Director Corner conceives the opera as a communal affair and makes use of the large chorus of adults and children to create and bring out that refreshing aspect. She uses people from Cooperstown and that is commendable for many reasons.

The Glimmerglass Orchestra conducted by Joseph Colaneri performed vigorously and was an aural delight.

The ennui of a seven-hour drive from Toronto to the shore of Otsego Lake disappeared.

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Pagliacci by Ruggiero Leoncavallo is being performed seven times until August 18, 2024 as part of the Glimmerglass Festival at the Alice Busch Opera Theater, Cooperstown, New York. Tickets and information (607) 547-0700 or www.glimmerglass.org

James Karas is the Senior Editor, Culture of The Greek Press 

THE MERRY WIVES OF WINDSOR - REVIEW OF 2024 ROYAL SHAKESPEARE COMPANY PRODUCTION

Reviewed by James Karas

The Merry Wives of Windsor is not one of Shakespeare’s most popular comedies and it may not be one of his best. But in the right hands it can be wildly entertaining and made into a portrait of a community, be it modern or of any age. The Royal Shakespeare Company (RSC) does just that with its hilarious and beautiful production of the play at the Festival Theatre in Stratford-on-Avon.

The production is directed by Blanche McIntyre who finds or invents humour at every turn of the text giving us a hilarious and wonderful evening or afternoon at the theatre.

The Merry Wives has several interwoven plots starting with the great Sir John Falstaff attempting to seduce two Windsor housewives, Meg Page (Samantha Spiro) and Alice Ford (Siubhan Harrison). He sends an identical letter to both seeking an assignation. They tell each other and plan to take revenge on the foolish, fat Knight. He ends up being thrown into the Thanes River from a huge laundry bucket.

In the meantime, Alice’s jealous husband Frank Ford disguises himself as a stranger called Brook, “befriends” Falstaff and tries to confirm his wife’s nonexistent infidelity by sharing secrets with his would-be cuckolder.

Moving on, the pretty Anne Page (Tara Tijani) is in love with Fenton (John Leader) but her mother wants her to marry the pompous French dentist Dr. Caius (Jason Thorpe) while her father George wants her to wed Slender (Patrick Walshe McBride) the foolish nephew of Justice Shallow (John Dougall) and let’s see how that will work out. 

Mistress Meg Page, Sir John Falstaff, Mistress Alice Ford. 

Photo by Manuel Harlan

The fun comes from superb acting, meticulously and imaginatively directed. John Hodgkinson as Falstaff in a three-piece suit can get a laugh with a simple look. He makes us roar when he shows reluctance to get in the laundry hamper then leaps into it when he senses imminent danger with the arrival of a jealous husband.

Spiro and Harrison are spirited, and attractive woman and we love watching them plot their revenge on Falstaff.  Ian Hughes is hilarious as Sir Hugh Evans, the Welsh parson. A minor role like that of Slender gets broad laughs with his awkwardness, speech mangling and stupidity.

Dr. Caius is made into a dentist and his French accent and pomposity are hilarious in the hands of Jason Thorpe. The famous Mistress Quickly (Shazia Nicolls) is Dr. Caius’s housekeeper but she takes on the role of a matchmaker shamelessly and wonderfully acting for all sides. Yasemin Ozdemir plays Falstaff’s servant Nym with distinction; she wore  the jersey of Harry 

Kane the captain of the English soccer  team on the eve of the Euro cup final in Berlin. Patriotism was in the air but unfortunately England lost to Spain the following day.

One of the hallmarks of the RSC is ensemble acting and McIntyre applies that to perfection. but she goes even further. She wants the merry wives and the rest to represent a village or a community. From the opening scene where a group of boisterous people appear on the stage to people walking across the stage during the performance we see a community. We are led into joining a song and made a part of the suburb.

The production is done in modern dress. The floor of the stage is green and a revolving house is flanked by green hedges. The structure becomes a house becomes, The Garter pub, the interior of a house and the outdoors as necessary. Furniture and people are brought center stage through a trap door. Kudos to set and costume designer Rober Innes Hopkins.

And a standing ovation to the Royal Shakespeare Company.

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The Merry Wives of Windsor by William Shakespeare continues until September 7, 2024, at the Festival Theatre, Stratford-upon-Avon, England. www.rsc.org.uk

James Karas is the Senior Editor, Culture of The Greek Press

KISS ME, KATE – REVIEW OF BARTLETT SHER’S PRODUCTION IN LONDON

Reviewed by James Karas                                                                                               

Bartlett Sher has cornered the market for plush revivals of classic American musicals at New York’s Lincoln Centre. He has directed the New York productions of My Fair Lady, South Pacific and The King and I for the London stage well. Now he directs Cole Porter’s Kiss Me, Kate at the Barbican Centre in London.

Kiss Me, Kate is undoubtedly one of the best American musicals ever written. It is a backstage show taking place behind the scenes of a production of Shakespeare’s The Taming of the Shrew in Baltimore. The war going on in Shakespeare’s play is reflected in the backstage relationship of the stars of the production to hilarious effect. The Taming of the Shew, you will recall. is about the violent courtship of the ferocious “Kate the cursed” by the fierce but impecunious Petruchio who is intent on taming her. In the production of Shakespeare’s play Kate is played by Lilli Vanessi and Petruchio by Fred Graham, both of whom are the fictitious characters in Cole Porter’s plot. The actors are Adrian Duncan and Stephanie J. Block.

Fred and Lilli are a divorced couple who are at each other’s throat, but they are still in love. Fred who is having an affair or doing something with Lois, an actress in the Shrew sends a bouquet and a love note to her before the premiere of the play in Baltimore. The bouquet is delivered to Lilli, and it just happens to have the same flowers as her wedding bouquet. War breaks out.

This is a vibrant, funny, robust, and outstanding production. The choreography and the comedy are done to perfection even if the singing is not topnotch all the time. Stephanie J. Block as Lilli and Kate displays a gorgeous voice that soars to her high notes and is splendid in her midrange. “I Hate Men” is sung with marvelous vigour and “So In Love” a is a melodious treat. She is a superb shrew and a furious former wife of Fred. She has found a general (Peter Davison) to get her out of the theatre, but can she live away from it? Dressed in glowing red, Block is beautiful and gives a bravura performance.

The two "gangsters" and Fred Graham in Kiss Me, Kate. 

Adrian Dunbar as Fred Graham directs The Taming of the Shrew, plays the lead role of Petruchio, needs to keep the rebellious Lilli in the show and, unbeknown to him, has a huge gambling problem that a couple of armed gangsters have come to collect. Dunbar has a long acting pedigree but his voice sounded as if it may be past its best before date. He managed some of the songs that require more bravado than vocal finesse but the show is so good we forgave his less than stellar singing. 

Georgina Onuorah is particularly good as Lois in the cast of the play and as Biance in The Taming of the Shew. She delivers the beautiful “Why Can’t You Behave” and “Always True To You In My Fashion” wonderfully.                

The program lists two characters as Gangsters (Hammed Animashaun and Nigel Lindsay). They are organized crime enforcers and show up to collect the enormous sum of ten thousand dollars from Fred that someone signed his name for during a poker game. When Lilli threatens to leave the performance, they show her their guns and convince her to stay on. The debt is “forgiven” but the two sophisticated gangsters stay on and sing and dance “Brush Up Your Shakespeare.” Sher gives them all the time they need and the two almost steal the show. The incongruity of two gangsters quoting Shakespeare and tapdancing is enormously entertaining.

No musical is complete without synchronized, vigorous and beautiful dancing and Choreographer Anthony Laast provides the steps, and the dance troupe performs with outstanding finesse.

The set by Michael Yeargan makes use of the Barbican’s enormous stage. A revolving structure provides room for the playing area of The Taming of the Shrew and the backstage spaces including Vanessi’s dressing room and other spaces.

Stephen Ridley is the Musical Supervisor, and he directs the orchestra and the chorus. There is a large number of people behind the scenes but all we care about in the end is seeing a superb production of a great musical and we get it.

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Kiss Me, Kate by Cole Porter (music and lyrics) and Samuel and Bella Spewack (book) continues until September 14, 2024, at the Barbican Theatre, Silk St. Barbican, London EC2Y 8DS

James Karas is the Senior Editor, Culture of The Greek Press