"The Taming of the Shrew," #919

One of Shakespeare’s most beloved comedies, where gender roles and rivalrous dynamics are at the crux of the plot, The Taming of the Shrew offers a thoughtful and entertaining glimpse at what happens when one is pursued, how the pursued reacts, and what measures the pursuers will take to obtain the affection of the pursued. There is, as the title offers, taming of "shrews" in this play, and in the currently running production at Good Company Players’ 2nd Space, it is clear that, while it’s often the women who fall under the male’s spell and thumb in The Bard’s plays focus is given to the men who are tamed. This production offers a strongly envisioned interpretation to ensure we all, but especially ego-driven, sexually-charged men, can learn a lot from the fairer sex when properly put in check. 

Led by Shelby Guizar as Katharina and Joshua Shadle as Petruchio, the two balance their antagonistic chemistry with Guizar's ever-clear disdain for Petruchio and a calm, cool, collected demeanor by Shadle, until both fall into the opposite emotions of their normal. The two lovers’ physicality are in complementary contrast, with Shadle nearly gliding with each step he takes and Guizar stomping, dancing, and standing strong when in scene together. Guizar’s performance of Katharina’s final monologue is incredibly paced and emotionally packed that it punches as strong a punch as any triumphant 11 0’clock number would in a musical. 

Highlighted supporting performances come from Madeline Wristen’s wholesomely alluring Bianca, Anthony TeNyenhuis’s hopelessly devoted and animated Lucentio, and Nico DiViccaro’s hilarious Tranio. This trio delivers the Shakespearean text with deft understanding while letting the physical comedy and word play shine. Robert Gilliam’s Biondello is a standout, as he embodies a knack for comedic reactions and physicality needed to execute the bits blocked by director J. Daniel Herring. Guinevere J. Thelin rounds out the standout cast in a terrific, committed turn as the Pedant, giving perfectly calibrated over-the-top gestures, reactions, and line deliveries that work in service of the comedic genre. 

David Pierce’s fabulous set design, inspired by Rowan and Martin’s Laugh-In sketch show is groovy and colorful in all the right ways. The many doors allow the cast to pop in and out as they observe, snoop, and flesh out the scenes. Ginger Kay Lewis-Reed’s costume designs adds a plethora of hip flair in line with the 1970’s aesthetic, allowing the cast to pop in color and style while complementing a key trait of each character's personality. Herring’s overall concept plays well as a nice nostalgic escape and setting of the comedy while never letting it overbear or get in the way of Shakespeare’s language. Vonda Schuster’s edit of this …Shrew allows for the big speeches, plot-propelling necessities, and character development to have their due time; Herring’s direction gives visual allure and appropriate staging to the text, while adding a fun thread of scene transition dance breaks, pantomimed sketches, and expositional bits.

The Taming of the Shrew is a laugh-at-it piece in its very specific depictions of genders and their expected roles. The plot of one sister not being allowed to wed till her older, more rebellious, "shrew-ish" sister weds is pretty outdated in terms of acceptable modern family dynamics, but it sure does provide for delicious comedic fodder in this Shakespearean classic. However, what can be appreciated most in this production is how much the men are put in check. Shadle, especially, has a lovely arc shown in his cadence and posture going from never hearing a No he couldn’t combat to accepting that marrying Katharina means more than inheriting a dowry. TeNyenhuis’s work is shown through triumph and disappointment in posing to be a qualified tutor to Bianca just to win her. Noah Miranda’s calculating-yet-dumped-on Gremio is a hilariously, properly deprecating performance to see unfold. It’s a balanced production of …Shrew and one I found to be most entertaining in the grooviest and irresistible of ways.