Word of warning: I love Canadian Stage’s Shakespeare in High Park, but I will try to remain objective. It’s a wonderful Toronto tradition that appeals on many levels. I’ve seen some great productions and some not-so-great, but I’ve always enjoyed it. And last night was no different.
It was the opening night of the company’s second play to be featured this summer: The Taming of the Shrew. And despite some mechanical hiccups and some inconsistency in the acting department, it proved to be both a fine production and a fine evening.
The Taming of the Shrew isn’t one of The Bard’s more commonly produced plays, what with all the over-the-top misogyny and all. It also doesn’t have the big thematic payoffs that you might get from Romeo and Juliet, Hamlet or Canadian Stage’s other production of the summer, Macbeth.
This archaic domestic abuse comedy wouldn’t really fly with today’s audiences — or the audiences of the past half-century, to be truthful — but director Ted Witzel manages to coax some powerful feminism out of it. Throw in a few additional sideshow theatrics (and I mean that in a good way), add some cool music, sex it up a bit and you’ve got yourself a bona fide winner.
The storyline is simple: it’s about two sisters, Kate and Bianca, and how they end up getting married off. Bianca, played by Jennifer Dzialoszynski, is younger and popular, with plenty of suitors lined up at her door, including a mildly creepy older gentleman named Gremio (played by Marvin Ishmael). But older sister Kate (the “shrew” in question), played stunningly by Sophie Goulet, has to get married first before Little Miss Popular gets her choice of fellas.
Trouble is, Kate doesn’t play by the rules. She thinks for herself, does what she wants and is in no rush to get hitched, despite pressure from pretty much everyone. So, she’s labelled a “shrew” and is basically cursed by all who know her, including her dad. Nice, right?
While this is definitely Shakespeare’s play, there have been a few little twists added (including a bit of lesbianism, which does create some holes in the dialogue that aren’t really filled up too well). But the best part, by far, is the ending. When it is time for fiery Kate to deliver her big speech as a reformed “shrew,” some clever direction and an incredible, jaw-dropping bit of acting turn it around. Using Shakespeare’s own words, she questions the very foundation upon which marriage stands. It is a scorching inferno of criticism directed towards the patriarchal, oppressive and superficial society in which Kate is forced to reside. It is awesome, and I really don’t say that all too often.
It isn’t the first time Shakespeare’s Shrew has been presented in this way, but it is exciting nonetheless. The lead characters are memorable. The set is simple but fun. And Ryan Hollyman plays a fantastic Biondello (in addition to his roles as chief audience participation expert and all-around mood lightener).
Go, have your fun.
The Taming of the Shrew runs every Tuesday, Thursday and Saturday at 8 p.m. until August 31. Admission is pay-what-you-can, but the suggested donation is $20