Review By Elise White, Front Row Reviewers
The classic stage design of Cedar City’s Engelstad Shakespeare Theater always makes me feel as if I am stepping back in time as I take my seat to see the Utah Shakespeare Festival’s The Taming of the Shrew. I have been to this theater a few times and I am always excited to see each show’s creative use of the same stage and the director’s take on these Shakespeare classics.
Director and Choreographer Valerie Rachelle gives a fresh look at this classic comedy, offering an interpretation that resonates with a more modern audience, taking some of the more problematic elements of Shakespeare’s storyline and twisting them simply with onstage physical gestures from the actors while the play’s core elements remain. For instance, toward the end of the players’ performance and the end of the play itself, when Petruchio (John DiAntonio) and later Christopher Sly (Topher Embrey) take a shoe and place it on the foot of Katherina (Caitlin Wise) and the Hostess (Trenell Mooring ) individually, they do so as a sign of respect and love for the women in return for the services the women have offered them. Instead of only leaving the audience to grapple with gender roles and societal expectations, we are left pondering the definition of selfless love and what it means to truly care for each other.
The creative use of bright color by Rachelle, Scenic Designer Apollo Mark Weaver and Costume Designer K.L. Alberts to differentiate the play within a play is brilliant. The matching of the servants’ costumes with their masters is a crafty and helpful aid for audience members who may not be familiar with Shakespeare’s works, to follow the intricate storyline, language, and multitude of characters. The colorful pink and orange backdrop and props of the Players’ performance gave fun Seussical vibes, helping immerse the audience in the Players’ world.
The actors’ physical dramatics and broad gestures, much of which is designed by the director/choreographer Rachelle and fight director Stefan Espinosa effectively complements the director’s vision and adds another layer of depth to the story. This is particularly displayed during the full childish tantrums of Katherina (Wise) and Petruchio (DiAntonio), which are hilarious, pointed, and add a needed layer of storytelling to Shakespeare’s words.
The standout performance belongs to Caitlin Wise as Katherina (Kate). Her fiery hisses and shooting glares stun with each withering put-down and witty retort landing perfectly. There is a depth to her performance, though, hinting at the softer intelligent person simmering beneath her shrewish exterior. When she first glimpses Petruchio, we can see Kate’s façade drop momentarily as she is taken by Petruchio’s handsome charm, and quick as a wink, she brings it back up.
DiAntonio brings equal energy to his role as Petruchio. His initial portrayal of the fortune-hunting Petruchio is spot-on but as Kate is described to him in feisty terms, we see him react with smiles and interest, indicating a deeper desire for joy and connection for Petruchio. As the show progresses, there are hints of teasing that add complexity to his character. Instead of a bitter dance for power between him and Kate, Petruchio portrays the struggle as more of a game of flirting and manipulation, waiting for the other player to crack so that laughs and kisses can be had when the game is over. It is during the bantering that the chemistry between Kate and Petruchio is most striking.
James Carlos Lacey as Lucentio and Valerie Martire as Bianca play the roles of young, smitten lovers well. Both Lacey and Martire are amazing at portraying their characters as inwardly intelligent and not just naïve. Martire’s portrayal of Bianca specifically shows Bianca’s intelligent side in the scene where Kate has tied her hands and Bianca pouts out a pathetic “Daddy” to Baptista Minola (Chris Mixon) indicating that there is more to her than meets the eye.
Much of the cast provides amazing comic relief. Embrey’s performance as Christopher Sly is hysterical right off the bat. Rodney Lizcano as Gremio steals every scene he is in, dripping with comedy and making the audience writhe with laughter with only a vocal emphasis here or a gesture there. John Harrell makes Hortensio hilariously awkward and goofy. Cassandra Bissell as Tranio has unmatched ability to act and react with facial expression alone. Mixon as Baptista plays the bewildered and exasperated father with impeccable accuracy. Blake Henri as Grumio has the audience in stitches as he gallops down the aisle to the stage with his master, clapping coconut shells together, reminiscent of Monty Python antics.
There is not a weak performance among the entire cast with plenty of physical humor and perfect comedic timing. If you are looking for a night of laughs, wit, and a thoroughly entertaining performance, William Shakespeare’s The Taming of the Shrew at Utah Shakespeare Festival fits the bill.
Children under 6 are not permitted, although child care services are available through the ticket office.
Utah Shakespeare Festival presents The Taming of the Shrew by William Shakespeare.
Engelstad Shakespeare Theater, 200 Shakespeare Ln, Cedar City, UT 84720
June 19- September 7, 2024 dates and times vary
Tickets: $15-85
Contact: 800-PLAYTIX (752-9849) or 435-586-7878, guestservices@bard.org
Utah Shakespeare Festival Facebook
Children under 6 are not permitted, although child care services are available through the ticket office.
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