THE TAMING OF THE SHREW

 

The Taming of the Shrew by William Shakespeare. 

Directed by Karen Vickery. Lakespeare. Glebe Park. Saturday February 21-28 Playing at various venues. Bookings at www.lakespeare.com 

A Commentary by Peter Wilkins

Anneka van der Velde, Alice Ferguson, Giuliana Baggoley and Yanina Clifton
in The Taming of the Shrew-the Patrick White Lawns at the National Library 

Not even the incessant drizzle could dampen the sheer exuberance of Lakespeare’s bold troupe of performers. Even the audience determinedly braved the weather in Glebe Park to witness Karen Vickery’s lively production of Shakespeare’s battle of the sexes comedy, The Taming of The Shrew. But when the drizzle turned into a shower and the shower threatened a downpour it was time to confront the fears of electrocution and call the production off.

Yanina Clifton as Grumia. Ylaria Rogers as Petruchia in
The Taming of the Shrew

Having seen only half of this production and being unable to see it in its other venues over the next couple of weeks, I am unable to offer a fully informed review. However, what I was able to witness in the hour was a fresh and vibrant production of Shakespeare’s comedy, the likes of which I have never seen. I do not say this lightly. I have seen many productions of “The Shrew” from the RSC to the big screen. However, the Lakespeare production is considerably different. Director Vickery and her creatives have staged a production for our time. Vickery has decided to reverse roles and turn Petruchio into a feisty, wilful, staunchly independent Petruchia (Ylaria Rogers), out to tame the grumpy, belligerent Christopher (Michael Cooper) into a compliant, agreeable Kit. Shakespeare’s wit, banter and situation serve the reversal well. It is Shakespeare’s universality that reveals the eternal struggle for power whether that be between Shakespeare’s Kate and his Petruchio or Vickery’s Petruchia and Christopher. The accusation of misogyny levelled at Shakespeare by more recent critics and academics is absolved by this act of reversal thus enabling the audience to judge the relationship in the context of their own age. I have no doubt that the master of antithesis would heartily approve. 

Blue Hyslop (Biondello) and Anneka van der Velde (Trania)
in The Taming of the Shrew

What this production allows an audience to do is revel in the comedy. “What fools these mortals be.”  Folly flourishes in the realm of comedy and the open air setting of the production is an ideal location to liberate the absurd antics of Shakespeare’s characters and their grave concerns with wealth, status and the necessity to secure oneself a spouse. Vickery’s cast gives faultless performances, exquisitely costumed in Helen Wojtas’s grandiose period costumes adorned with milliner Rachel Henson’s elaborate hats and headwear. The tables are turned with gender swapping but it is easy to imagine that we are seated in the Forest of Arden as the actors romp merrily through Shakespeare’s satire on class and matrimony.

The rain is heavy now and I will never get to see how Christopher handles that closing monologue of contention, an apparent equivocation of complete subservience to the lord or in this case the lady’s will. That is something that audiences fortunate enough to see this wonderful production under a clear sky will need to decide. Role reversal or no role reversal, the speech may portent more than it seems.

 

Shontae Wright (Lucentia), Anneka van der Velde (Trania) and 
Alastair James McKenzie (Bianco) in The Taming of the Shrew

Finally, the cast is to be thoroughly commended for bringing Shakespeare’s comedy so vibrantly to life. There is no confusion with the text, delivered so truthfully and trippingly on the tongue. Vickery infuses the action with energy, and the cast respond with performances that are accessible and highly entertaining. The entire cast deserve commendation: Ylaria Rogers as Petruchia, Michael Cooper as Christopher, Yanina Clifton as Petruchia’s clownish maid Grumia, Giuliana Baggoley as Baptista, the mother of Christopher and Bianco (Alastair James McKenzie), Christopher’s brother, Alice Ferguson as Bianco’s aged suitor Gremia, Shontae Wright as Lucentia, Bianco’s secret love, Anneka van der Velde as Trania, Lucentia’s servant, Blue Hyslop as Biondello, Claire Noack as Hortensia and Jill Young as Vincentia.

Lakespeare is a Canberra institution bringing powerful and entertaining productions of Shakespeare’s plays to Canberra audiences.  I may have only seen half of this year’s production of TheTaming of the Shrew, but I am left as the rain fell with a feeling of envy for those who would be able to return to see how this outstanding production of Shakespeare’s comedy of sexual and social politics turns out. With accolades galore I expect.