The Taming of the Shrew - 7.5 out of 10
Adelaide University Theatre Guild
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Adelaide University Theatre Guild’s premiere production, The Taming of the Shrew, follows two sisters: Bianca, who has many suitors, and Katherine, who is seen as difficult and outspoken. The central premise is that Bianca cannot marry until Katherine does, prompting Bianca’s suitors to seek a husband for her sister. Petruchio arrives in search of a wealthy wife and agrees to marry Katherine, later employing harsh and manipulative tactics to force her obedience. A secondary storyline follows Lucentio, who falls in love with Bianca and disguises himself to get close to her; he ultimately marries her. The play concludes with a wager between the husbands over whose wife is most obedient.
This production emerges under unusual circumstances.
Following the cancellation of AUTG’s previous show, a sense of uncertainty
lingered, leading Olivia Jane Parker to step out of the cast and into the role
of director to ensure a show could proceed in its place. What follows is a
collective effort to adapt, persist, and create. Compressing an entire
production timeline, from proposal to performance, into an already active
rehearsal schedule is no small feat. Doing so with Shakespeare, which demands
time for text analysis and comprehension, makes the achievement even more
notable. This production reflects a significant level of commitment, and Parker,
her team, and her cast deserve recognition for both the rapid turnaround and
the work presented.
The cast delivers a range of entertaining characters and
well-considered interpretations of the text. There are moments that capture
attention through subtle reactions and character choices, others that provoke
unexpected laughter, and some that invite reflection on how the play’s themes
resonate in 2026.
Deborah Walsh anchors the production as the matriarch Minola
Baptista, embodying discipline and unyielding authority in a role that demands
both familial control and professional command. Her grounded performance
establishes Baptista as the formidable head of both household and record label
studio. Walsh's timing and presence ensure the audience immediately senses her
dominance.
Heather Crawford delivers a standout turn as Katherine, with
sharp-tongued defiance and quick temper. She begins as a forceful, commanding
force, prone to violence against unwanted suitors, before Petruchio's
psychological tactics lead to a nuanced submission, all marked by light and
shade. Crawford's vocal shifts, physicality in confrontations, and subtle
emotional layering make the character's arc compelling and human, inviting
modern audiences to grapple with its gender dynamics.
Jessica Merrick brings affectionate spirit to Bianca, the
charming younger sister who hides clever resilience amid suitors' schemes. Her
portrayal radiates "younger-sister vibes," especially in charged
arguments with Katherine. Paired with Walsh and Crawford, Merrick forges a
convincingly tense yet believable family unit.
Tom Tassone's Petruchio is unapologetically abrasive,
thriving on eccentricity and domination. His chemistry with Crawford reveals a
rehearsal-forged trust that grounds their volatile scenes. Tassone excels in
the physical comedy and power plays, though occasional overly poetic delivery
risks distancing the raw intensity of Petruchio's manipulative bravado.
Martin Penhale captures Gremio's foolish, wealth-obsessed
persistence as one of Bianca's older suitors, whose physical comedy and
misguided confidence highlight the rivalry with younger rivals. His clear
motivations—believing riches alone will win Bianca—shine through in expressive
movements, making the character endearingly pathetic despite not being the
crowd favourite.
John Charles infuses Tranio with sharp wit and adaptability,
transforming Lucentio's servant into an engine of deception, outsmarting the
elite. His practical confidence underscores the play's class satire, as Tranio
poses as his master to negotiate Bianca's hand, delivering dialogue with punch
that amplifies the subplot's chaos.
Ben Proeve's Lucentio injects youthful romance and comedy,
falling instantly for Bianca and disguising as tutor Cambio to infiltrate her
world. His lighter energy bounces effectively off Charles's Tranio; their
interplay drives the deception with seamless rapport and physical humour.
Inkie Elliott-Potter makes the minor role of Biondello
memorably engaging, as Lucentio's cheeky servant whose consistent shadowing and
sly reactions add buoyant texture to the Bianca pursuit.
Rodney Hrvatin's Grumio delivers reliable comic relief as
Petruchio's gruff, quick-witted servant, caught in his master's
"taming" antics with exaggerated reactions. His violin solos—sweet in
moments, comical in others—elevate the music-integrated adaptation, blending
pathos and farce.
Hannah Hyde shines first as Bianca's bass player, exuding
onstage joy, then reemerges post-interval as Curtis with fresh vigour,
enhancing Petruchio's household ensemble.
Macey Lawson stands out, fluidly embodying Hortensio
(another suitor for Bianca), disguised Litio, and the sharp-tongued Widow, each
distinct in rivalry and resignation. Her original compositions and live piano
infuse vitality, making her a musical and dramatic linchpin.
Leah Lowe's Vincentia seizes focus upon entrance, her rich
costume by Sue Cayzer amplifying authority as she unravels the Tranio/ Lucentio
ruse. Rhys Young's The Tailor provides punchy deception as Petruchio's victim,
mocking excess; Ben Hewson's The Merchant is a sly comic prop in the plot rush,
unwittingly becoming initially disguised as Petruchio’s mother. These minor
players sustain energy via ensemble work and instruments, proving the cast's
depth.
This adaptation situates the story within the world of a record label run by the sisters’ mother, integrating original music into the production. Original music by Ben Waller and Macey Lawson enhances the atmosphere shaped by director Olivia Jane Parker. The onstage musicians: Lawson (piano), Hrvatin ( violin), Hyde (bass), Young (clarinet), and Lowe (triangle), add a dynamic layer to the performance. The only real disappointment lies in my own preconception and hopes that there may have been a musical number featuring the performers, including Crawford and Merrick’s vocals.
Overall, The Taming of the Shrew is an ambitious
and thoughtfully executed production that showcases the resilience and
creativity of the Adelaide University Theatre Guild. The strength in many
performances, the integration of live music, and the commitment behind the
process make this an engaging and worthwhile theatrical experience. It may not
fully resolve the complexities of the text for a modern audience, but it offers
enough originality, energy, and skill to leave a lasting impression.
- Andrew Broadbent
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