From 5 to 9 February, the Edinburgh University Shakespeare Company (EUSC) presented a distinctive rendition of Shakespeare’s “The Taming of the Shrew.” Deviating from traditional interpretations, director Minna Gillett infuses a contemporary spirit, akin to “10 Things I Hate About You,” steering away from the play’s inherent misogyny. Notable gender swaps, including Ted Ackery’s portrayal of the sullen Christian/Kit (formerly Katherina) and Maria Wollgast’s turn as the wild Pertruchia (Pertruchio), challenge societal norms without sacrificing entertainment value.
The play underscores that power dynamics need not solely revolve around gender, a refreshing change from conventional interpretations.
Despite the absence of a Heath Ledger serenade, the ensemble’s comedic prowess injects undeniable hilarity into the play. In particular, there are the standout performances of servant figures like Anna Yarwood’s Susie-Myerson-esque Grumio, Juliet Gentle’s fast and frantic Biondella, and Frasier Murray’s charismatic Tranio. The ‘It-Girl’ Bianca (Greta Abbey) and her swooning devotee Luciento’s (Eric Parker) chemistry proves excellent, albeit occasionally overwhelming, but the dynamic is complimented immensely by Eliana Kiakides’s astute Hortensia. Alexander Levin’s Baptista Minola effectively ties the rowdy, love-struck, and quarreling characters together well through the self-assured patriarch. As for Kit and Pertruchia, it proves that a gender swap does not make the original content any less sickening, yet both actors excelled with their passion and conviction.
The set contributors (Émilie Noël, Amalie Atfield, Matilda Bulll, Ruby May) more than convey the setting of wealthy Northern Italy, which further enhances the exploration of wealth, social status, and charisma, with the twist of 80s chic. The incorporation of 80s Italo disco, designed by Shira David, complements the mercantile world. Overall, the play has elements of fun, silliness, and audacity, enhanced superbly by its setting.
While the inherent chaos and trickery of the play occasionally borders on a Shakespearean menagerie, the cast mostly maintains control, delivering an undeniably hysterical performance. This is exemplified through Vincentio’s (Hugo Donnelly) arrival, where he and the fake Vincentio (Aaron De Verés) had the entire audience howling. Despite some challenging lines, the overall production succeeds in infusing humour into a play often disliked for its original sexism, making it a delightful experience for modern audiences.
Image by Emily Shade provided via EUSC Press Release