More Befuddled Than Beguiled

Taming of the Shrew

Always reluctant to attend a production of what’s consider William Shakespeare’s most controversial play, I was intrigued to see how the highly respected Court Theatre would treat this comedy. Would I be befuddled or beguiled? TAMING OF THE SHREW is viewed as a problem play, especially since the Me Too Movement, because of its subject matter. For anyone not familiar with the play, Shakespeare’s comedy is about—indeed, seems to celebrate—misogyny. Baptista’s docile younger daughter, Bianca, isn’t allowed to marry until his more outspoken daughter, Katherina, finds a husband. But no one’s interested in Kate because she’s so strong-willed. The Bard focuses on male dominance over females, in is play, and how women need to be beaten down and brought to their knees. At the end of the play, after being “tamed” by Petruchio, Kate, the Shrew, instructs her female companions that a wife must be obedient to her husband. It’s a most irritating and painful monologue, to say the least.

Today, some directors view the controversial comedy as the Bard’s veiled criticism of the Elizabethan patriarchal society. And it could very well be true. During that era there were strict social and legal limitations placed on women. Females were expected to be quiet, remain homebound and always subservient to men— and not just their husbands, but to all men. A woman’s goals in life were marriage, bearing and raising children and keeping the home running smoothly. Queen Elizabeth I was the reigning monarch, despite being a woman. But she was the only exception. A woman had no opportunities for education or earning a living outside of the home. Women could only perform domestic services, work as a nurse or midwife or maybe earn a few shillings as a weaver or seamstress. Hence, any participation in public life, especially in the arts, was strictly prohibited.

For Court Theatre’s new production of Shakespeare’s contentious play, guest Director Marti Lyons has also crafted her own unique adaptation. Ms. Lyons admirably presents TAMING OF THE SHREW as a theatrical debate about the complexity of relationships and gender roles. She sees the comedy as “a piece that brims with contradictions that are urgent and resonant.” She recognizes the play as an examination of power. Into the mix she’s developed Shakespeare’s original script as a contemporary play-within-a-play. Labeling it “The Shrew Experience,” Ms. Lyons calls the evening’s performance “an immersive night of entertainment for only the wealthiest of participants.” In other words, five supposedly anonymous guest performers, who’ve paid for the opportunity, will be portraying supporting roles in Shakespeare’s play. The audience learns that the five new actors are all related to each other in some way, and will be performing on stage “for the first time.”

An interesting concept, to be sure, but the end result isn’t as successful as the Director anticipated. The dynamics of the Bard’s play-within-the-play considerably changes with the involvement of five amateur actors. Their personal relationships, proclivities and allegiances begin to shift and create new and unexpected affiliations. Personally, they took away from what Shakespeare was saying and placed an uncomfortable, almost sordid perspective of the characters.  

In addition to the ten actors who portray the named characters and the ensemble, another group of individuals wearing giant, oversized Shrew heads serve as the stagehands. The company of actors is obviously a talented and dedicated group. Every one of them strives to make this production work, but there’s a lot of confusion with what we see and hear. They include Melisa Soledad Pereyra (as Katherina), Jay Whittaker (as Petruchio), Netta Walker (as Bianco), Mark L. Montgomery (as the women’s father, Baptista), Ryder Dean McDaniel (Tranio), Nate Santana (Lucentia), Samuel Taylor (Hortensio), Dexter Zollicoffer (Gremia) and Monica West (the Widow). When the five “guests” enter down the center aisle, it’s not immediately clear who they are or exactly what they’re going to be doing.

As the play progressed, I found that neither did I like nor identify with any of the characters, as they were being portrayed. The singular exception was gifted young Alex Weisman in his humorous portrayal of Grumio. This talented young actor is always brilliant in whatever play or role he’s been cast. But Mr. Weisman seems to have been directed to work extra hard and to be in a constant battle against everything and everyone else in this play. But Alex alone brought the only laughter to this otherwise strange, sordid story.

Certain technical elements of this production are more successful. Jackie Fox’s elaborate Scenic Design is varied and versatile, especially as Lighted by Maximo Grano De Oro, assisted by Sierra Walker. Kotryna Hilko has Designed an interesting collection of Costumes for her cast. Kate and Bianca’s gowns are the real standouts, although Petruchio’s black leather garb fits him like a glove. Ethan Korvne’s original Musical Composition nicely gives this production an audacious auditory element. And 

TAMING OF THE SHREW will probably always be considered a controversial comedy. We may never be fully certain of Shakespeare’s true intention when he wrote this play, but it’s fairly certain that directors will forever be challenged by presenting a production that audiences will enjoy. Unfortunately for this writer, I was more befuddled than beguiled by this confounding Court production. 

Somewhat Recommended

Reviewed by Colin Douglas

Presented November 14-December 14 by the Court Theatre, 5535 S. Ellis Ave., Chicago.

Tickets are available in person at the theatre box office, by calling 773-753-4472 or by going to www.CourtTheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.