Theater Review: The Taming of the Shrew

by Shawn Parikh

I’m always weary when seeing an updated version of Shakespeare because the production usually tries too hard. Of course, when Dallas Theater Center puts on a contemporary production of The Taming of the Shrew directed by Artistic Director, Richard Hamburger, you pretty much know that this one won’t irritate you. It will do more than not suck, but will literally “rock.” Hamburger’s take on this Shakespearean comedy is really fresh and hip by using tacky-yet-stylish costumes, fluorescent lights, rock-n-roll music, and wacky characterizations.

The show is a classic look at the battle-of-the sexes where Petruchio takes on the task of marrying outspoken Kate and “taming” her, so that her younger sister, Bianca, can finally marry. Hamburger mentioned that these sorts of relationships can appeal to today’s audience, and thus, the update.

He had also stated that there is a slightly absurdist twist as well, which definitely appears in certain melodramatic line readings and stylized movements, as well as the scene changes where Kate lip syncs to screamo music. From the use of an iPod, to a pizza box, to singing the theme of Married with Children, all of these updates add another comedic layer to an already funny script. This modernization works because everyone commits fully to blending the Shakespearean text to an updated setting that you kinda forget you are listening to Shakespearean verse.

Visually, the show is a beautifully flashy treat. The set (David Zinn) is minimal with a black-and-white painted backdrop of an Italian street clashing with a loudly-patterned floor, giving the actors a lot of room on stage to act and be seen. Remarkable features include the slim benches (I didn’t even see them until someone sat down on one), 3 doors painted in the colors of the Italian flag, chairs being brought on by actors, and the backdrop opening up in the second act to reveal a whole new world.

Add colorful, neon lighting (David Weiner) to the set, and the town of Padua looks whimsically exuberant. The show looks great even without actors on the stage. But then, costumes (Clint Ramos) add a whole new coating of fantastic visuals. Petruchio’s leopard-print coat, Kate’s neon pink gloves, and Lucentio’s tuxedo T-shirt fit so well into this absurd setting that mostly every actor “pops” on stage.

Jonno Roberts as the lead, Petruchio, is appealing from start to finish. Most of his charm comes from the confident characterization of Petruchio. It seems like a hard task to make Petruchio a likable character since he has misogynistic traits, but Roberts exudes perfect comedy and charisma.

Mary Bacon unquestionably makes a strong character choice as Kate, who is constantly jolting and twitching to show her unruliness. She definitely has put all of her energy and work into the character, which is laudable. However, from this wild nature in the beginning, to the final monologue where she admits her submission to Petruchio, it goes from one extreme to the other, and I was missing the piece to see what made her change. However, when Bacon and Roberts do share a scene, their chemistry is dead-on. It was terrific to see them play off of each other, especially in their first meetings where they entangle themselves in a physical and verbal fight.

A standout in the cast was John Woodson, who played Gremio, an old wheel-chaired man after Bianca’s love. His line readings were hilarious and he got a laugh any time he tried. Chamblee Ferguson had great physical and facial expressions as Hortensio, while Noel Velez added an engaging persona as Bianca’s suitor, Lucentio. I have to mention this mannequin nun who kept being wheeled on and off stage throughout the show. She/It was such a random touch but added to the ensemble, and I really wanted to get to know her back story.

The design eye-candy paired with the lead’s performance make this show hilariously entertaining from beginning to end. If you don’t believe me, the show got two standing ovations, one before and one after the show. The first one was for Richard Hamburger, since it is his final show as the Artistic Director, and the second ovation was obviously for the show itself, or maybe the mannequin nun.

Tickets can be purchased online or by calling 214-522-8499.