The Taming of the Shrew

Melbourne Shakespeare Company consistently provides lively and enjoyable outdoor productions of Shakespeare plays. This show is an excellent example of the body of work they have produced. This performance is unique as it goes much further in its consideration of the themes housed within the text. The play is open to a variety of interpretations and has often generated debates about its subversive value, but it undoubtedly sheds light on the patriarchal mechanisms (even at the most fundamental level of intimacy) that operate to oppress women.

This production addresses this question by making a very bold choice and employing gender reversals in almost every single role. The gender bias that the play explores is completely reversed giving the show a very matriarchal feel. The sex and gender power imbalance is strangely or uncannily brought to the forefront giving it a more confronting quality. The angelic charm exhibited by Bianco (Saxon Gray) evokes less hyperbolic and more sensitive images of masculinity. This contrasts well with the wilful and spiteful nature of Katerino (John Vizcay-Wilson). This has the effect of shifting the question of their allure and suitability to marriage on to demeanour rather than acceptable modes of behaviour based on gender. 

The show ensures that the characters retain their original qualities but unproblematically attributes them to the opposite sex and the strategy is not only effective, it brings a new perspective to the play. As a woman, Baptista (Amanda McKay) is equally driven by financial concerns but her interest in the emotional happiness of her children is allowed more space. The aggressive wooing of Bianco by the various female suitors also produces an interesting twist to the story and their femininity exudes decisiveness and determination.

The performance is replete with good-natured slapstick humour and the events are shepherded on to the stage by the gifted musician, Sly (Paul Morris). The inclusion of a diverse range of contemporary music adds another level of humour and easily invites audience participation. The show seems to take some time to warm up but once the action begins the fun and frolic is virtually non-stop. The acrobatics are delightfully energetic and expertly delivered by the entire cast. Petruchia (Emma Jevons) is often quite marvellous when it comes to precision and timing and her physical dexterity is shown as part of her armoury for taming the unsuspecting Katerino.

This production offers a very unusual take on the play without sacrificing the amusing and highly entertaining value of the story. 

Patricia Di Risio