Emsworth is glad he didn’t skip The Taming of the Shrew, as originally planned. This show is a joyride, a high-spirited show with as fine a cast as the Stratford Festival can muster. It kept us laughing and entertained from beginning to end.
The dilemma in this comedy is how Baptista Minola (Stephen Ouimette) of Padua is to marry off his two daughters. For his pretty, good-humored younger daughter, Bianca (Adrienne Gould), Baptista has solid options in young Gremio (Juan Chioran) and long-in-the-tooth Hortensio (Randy Hughson).
However, for his elder daughter, Katherine (Irene Poole), an irascible, sharp-tongued girl with a limp (in this production, anyway), he has no takers. On principle, like Laban in Biblical times, Baptista will not marry his second daughter until he has found a husband for the first.
Gremio and Hortensio make common cause and agree to find a husband for Katherine so they can get on with their competition for Bianca. The situation is complicated when Lucentio (Jeff Lillico) arrives from Pisa, happens to spy Bianca, and becomes a third suitor.
But a solution appears, and the show moves into overdrive, when Petruchio arrives in town from Verona, hoping to “wive it wealthily in Padua.” He learns from Hortensio and Gremio about Katherine and her dowry and sets out to make her his wife.
As Petruchio, Evan Buliung is a dynamic, irrepressible spirit who sweeps all before him; Irene Poole, as Katherine, is a worthy foil. The more Katherine gives him tit for tat, the more Petruchio values her and the more he revels in the tasty game of subduing her. Their scenes together are first-rate, from the saucy repartee of their opening skirmish to the hilariously cruel scenes in which Petruchio snatches sleep, food, and clothing away from his wife to reduce her to submission. (In this production, Petruchio and Katherine come to enjoy a decidedly kinky, dare we say, sado-masochistic, relationship. For Emsworth’s take on this, see this post.)
Persons considering this show should be aware that it has a good deal of disquieting and gratuitous cruelty. The people of Padua dunk Katherine in the river for her shrewish behavior. Katherine ties up her sister Bianca and whips her. And not only does Katherine strike Petruchio, but Petruchio strikes her back.
At any rate, we were entertained by the extravagant, brilliantly colored period costumes and by the Elizabethan songs interpolated throughout the play and performed by various members of the cast. We admired the scrumptious Adrienne Gould, as Bianca, played here as a man-tease, nearly as much as we liked her as Ophelia in this year’s Hamlet. The comic performances of Stephen Oimette as Baptista and Patrick McManus as the flamboyant Biondello were exquisite.
And we especially enjoyed the performance of Ben Carlson as Lucentio’s servant Tranio, who like Mr. Pickwick’s Sam Weller is wittier, more voluble, and more worldly-wise than his master.
So why did we hesitate to see The Taming of the Shrew? It was not that we were necessarily put off by the unenlightened sixteenth-century treatment of women in the play. Those were different times, and Emsworth has no patience for those who cannot get past the fact that sixteenth-century England was not organized on politically correct principles.
No, we hesitated because we thought The Taming of the Shrew, which we had never seen performed until now, was one of our least favorite Shakespeare plays. Reading it, we thought the prologue scene was superfluous, and we could not see how the “lord and master” speech at the end fit with the rest of the play. And seen on the page, the play’s humor was hard to appreciate.
We also worried, frankly, about our ability to keep everyone straight. There are plenty of characters, some with similar names (Grumio and Gremio), and to further confuse his audience, Shakespeare has many of them trade identities. Emsworth is happily accustomed to the imposters that litter the novels of P. G. Wodehouse, but there are so many imposters in The Taming of the Shrew that it is not easy to remember who is pretending to be who.
But we worried for nothing. The direction of Peter Hinton gave this production such shape and momentum that we never felt lost or confused, even at moments when we might not have been able to give an accurate account of the characters.
For Emsworth’s take on the nastiness between Petruchio and Katherine, see this post.)
For Emsworth’s review of All’s Well That Ends Well in the 2008 season of the Stratford Festival (Stratford, Ontario), see this post for the Emsworth review of Hamlet at the Stratford Festival in this post). Other Emsworth posts include reviews of shows in the 2008 season of the Shaw Festival (Niagara-on-the-Lake, Ontario), including Bernard Shaw’s Getting Married (see this post), Lillian Hellman’s The Little Foxes (see this post), Leonard Berstein’s Wonderful Town (see this post), and J. B. Priestley’s The Inspector Calls (see this post).