To counteract the play’s inherent misogyny, director Thomas Makinson and his enthusiastic cast have given the play a gender-swapping twist and they play it to the hilt.
In the central roles of the spicy Kate and her domineering (eventual) spouse Petruchia, Lizzie Thomson and Belle Mullan are both strong and bring some nice touches of humanity to the fore.
Fellow principal cast members Jakob Ree (Bianco), April McMillan Perkins (Lucentia), Evie Virens (Gremia), Crispin Garden-Webster (Baptista), Daniel Cromar (Grumio), Louisa Stabnow (Trania), Harry Almey (Biondello), Nic Turner (Vincentio), with Makinson himself filling in with book in hand as Hortensio, make the most of the ridiculous plot, its hidden identities and general silliness.
Ensemble members Kate Will-Tofia and Sam Ogden are sterling in support.
Stage business is managed briskly and everyone is secure in their lines — apart from the usual young Kiwi actors’ tendency to speak a little too quickly.
The simple, flexible set, designed by Sofie Welvaert, helps to keep the busy action moving, with sound design by Louisa Stabenow and original music composition by Evelyn Virens and Charlotte Goodyear.
From its unusual and tricky opening to a full-on dance party at the end, the Globe’s version of The Taming of the Shrew is a feast of experimentation with just how flexible the bard’s words can be.
The play continues until Saturday.
