Globe Theatre
Tuesday, July 8
For decades now, any production of Shakespeare’s The Taming of the Shrew has been an object of suspicion.
This is largely because its psychological and physical violence, which an Elizabethan audience would have found highly entertaining, has come to be seen as offensive.
In the current climate, presenting a play that seems to celebrate - or even encourage male chauvinism as a useful romantic strategy - verges on dangerous.
Director Thomas Makinson has found two ways around this.
First, he makes several characters gender-fluid. Petruchio becomes Petruchia, Bianca becomes Bianco and so on.
Although Petruchia’s controlling, manipulative attitudes still grate, the domestic violence aspect is considerably watered down.
Secondly, the action is heightened to emphasise the comic aspects.
Physical violence is portrayed in a way clearly intended to be funny rather than realistic, with little attempt to make actual contact.
While a commedia dell’arte approach seems suitable for the play, it does not always quite come off and at times, can look more like over-acting.
Pace could occasionally be quickened slightly to maximise impact.
Capable performances are crowned by some standout ones. I was especially impressed by Lizzie Thomson (Kate), Belle Mullan (Petruchia), April McMillan Perkins (Lucentia) and Daniel Cromar (Grumio).
Makinson’s direction ensures that none of Shakespeare’s bawdy possibilities are overlooked or under-exploited.
Costumes and set have something of a budget look. The characters wear outfits reminiscent of the late 20th century and the minimal set seems have been influenced by Tetris, a video game popular at that time. The choices are not inappropriate, but the reasons for them are not obvious.
While I did not find Tuesday’s special preview entirely flawless, it is a competent and inventive production.
I suspect that audience members will not always agree among themselves and, as ever, that is how it should be.
