The Taming of the
Shrew Shakespeare Santa Cruz, 2004
Anne Bennet - Santa Cruz Sentinel
The midsummer explosion of theater excitement known as Shakespeare Santa Cruz
has begun. The Sinsheimer-Stanley Festival Glen is alive with the delights of The
Taming of the Shrew and anticipation grows for the remaining two productions…
Shakespeare Santa Cruz manages to accomplish the taming of the intriguing
Kate with somewhat less insulting results than other productions I’ve seen. Director Tim Ocel,
working in the lovely environment of the Festival Glen, creates a marvelously funny Shrew. His cast enunciates with great success, and the audience enjoys the
jokes and puns enormously.
It’s almost impossible to discuss The Taming of
the Shrew without first admitting that yes, we all know it’s politically incorrect and
that the premise of a woman needing to be “tamed” is not only unlikely but probably impossible and
certainly not a desirable state of affairs. So it’s true that Shakespeare’s funniest (in my
opinion) comedy is possibly also the most risky choice for contemporary audiences. That Petruchio finds
it necessary (because of his own macho ego?) to subject the headstrong Kate to browbeating, starvation,
humiliation and contempt in order to make her wife-worthy is certainly not a palatable concept. To be
honest, it’s abhorrent to most of us.
The play never explains why Kate was such a bitch to begin with, and it never
really clarifies—at least for me—whether Kate, was battered into submission or whether she chose to
accept a pseudo-submission for reasons of her own; in other words, did she actually manipulate the
outcome to suit herself? (Yes, I know this is the apologist’s argument.)
There are many scenes that consist of wordplay solely for the fun of it, and
the actors capitalize on this with fine diction and clever delivery; not aline is lost to fuzzy
mumbling. Ocel’s direction is well paced and visually pleasing, and the characters evolve with
fine definition.
Blaire Chandler is the ultimate Kate: She berates her sister and father, and
indeed anyone who comes in contact with her, with stunning sarcasm and withering scorn. When confronted
by the determined Petruchio, she doesn’st waver. She accepts his torment but she also, slowly and
believably, accepts his love for her—and her transformation is, finally, credible.
Chandler is a superb actress who contributes subtle nuances to a difficult
role. Robertson Dean is a perfect match for the ferocious lady. His Petruchio arrives in town with
smug determination, adequate credentials and a desire to "wed wealthily." When he hears about
Kate, he confidently takes on the challenge.
But Dean allows us to recognize that the rich Kate soon becomes for him more
than a betting conquest, as Petruchio grows to realize that he must subdue her to win her, and this he
does. Dean’s ability to show this underlying love without losing the essence of the battle
creates the revelation that gives the drama its singular beauty.
Their passionate love story is played out amid the usual chaos of
Shakespeare’s comedies. There are, as always, characters taking on the roles of other characters,
purposely mistaken identities, and lots of punny jokes.
Fine performances by MikeRyan, Cody Nickell and Tommy Gomez add to the fun
and the confusion. Morgan Davis is appropriately self-centered and cloying as Kate’s spoiled
younger sister, and Daniel Parker and especially Patrick Kerr are delightful as her hopeful
suitors.
The Shrew is set in the1940s, for no particular
reason that I could figure out. While Shakespeare’s plays, on the whole, never suffer from being
shifted from one century to another—after all, it’s the language that is their most compelling
attraction—the choice of an era when women were beginning to discover their potential and power is
somewhat quirky.
The choice does, however, provide B. Modern with an opportunity to make use
of her skills in coming up with eclectic and interesting costumes. The set, designed by Kate Edmunds,
is bleak and gray; the simple, accommodating backdrop is unimaginative and fails to take advantage of
the spectacular Festival Glen space. As a setting for such a romp and comedy, it doesn’st
contribute any visual excitement. The Taming of the Shrew is, because of
or despite its unlikely scenario, a deceptively funny play, one that gets you laughing whether you like
it or not.
And Shakespeare Santa Cruz doesn’t miss a beat. The production is a
splendid one, and even after all these years, Kate and Petruchio never fail to play games with your
imagination.
Back to The Taming of the Shrew Press...Back to Regional Theatre Resume...
Robertson Dean
The Taming of the Shrew
Shakespeare
Shakespeare Santa Cruz
2004
Photo: r.r. jones