Taming of the Shrew, a captivating production by Frog & Peach Theatre Co., stars the brilliant Amy Frances Quint as Katharina and charismatic DazMann Still as Petruchio.
The story begins with Lucentio (a robust Anju Parikh), who loves Bianca (delightfully coquettish Camelia Iturregui Fuertes) but can’t court her until her “shrewish” sister Katharina marries.
He hatches an intricate plan with his servant Tranio (a deft Eric Swanson) that is the heart of this dark comedy.
Eccentric Petruccio marries Katharina and uses abusive tactics to transform her into an obedient wife.
The play, pitch-perfectly and briskly directed by Lynnea Benson, Co-Founder and Artistic Director of Frog & Peach Theatre Co., thoroughly entertains as it explores unchanging attitudes toward women throughout history.
Three centuries ago, men resisted women who challenged societal norms and threatened their perceived superiority.
The more things change. The more they stay the same.
The production’s visual splendor comes from period-inspired costumes, set design, and lighting. However, its original first folio dialogue is intentionally problematic in portraying women as commodities and relying on manipulation and starvation as “taming” methods.
DazMann Still’s masterful portrayal of Petruchio encapsulates his manipulative tactics towards Amy Frances Quint’s indomitable Kate in this soliloquy –
“Say that she rail, why then I’ll tell her plain
She sings as sweetly as a nightingale:
Say that she frown, I’ll say she looks as clear
As morning roses newly washed with dew:
Say she be mute and will not speak a word,
Then I’ll commend her volubility,
And say she uttereth piercing eloquence:
If she do bid me pack, I’ll give her thanks.”
As though she bid me stay by her a week:
If she deny to wed, I’ll crave the day
The main plot depicts their courtship Initially, Katharina is defiant and unwilling, but Petruchio “tames” her aided by his brutishly amusing servant Grumio (a scene stealing James Nash) with psychological and physical torments, like keeping her from eating and drinking, until she becomes a desirable, compliant, and obedient bride.
The subplot involves a competition between the suitors (Lenny Ciotti’s “Hortensio” was comedy gold) of Katharina’s younger sister, Bianca who is seen as the “ideal” woman. Only that she’s more compliant and traditionally “feminine” in her attitudes toward men than the fiery independent Kate.
After some psychological and emotional abuse Kate goes from fearless –
“If I be waspish, best beware my sting. “
(Katherina, Act 2 Scene 1)
To full-on ”tradwife” by Act 5 –
Why are our bodies soft and weak and smooth,
Unapt to toil and trouble in the world,
But that our soft conditions and our hearts
Should well agree with our external parts?
(Katherina, Act 5 Scene 1)
Personally, I don’t buy Kate’s acquiescence by the end of the play.
Perhaps it’s seeing it through a modern lens knowing strong women my entire life, or Ms. Frances Quint’s powerful portrayal, the gaslighting and manipulation involved wouldn’t break Kate permanently in my humble opinion. As it fails to break many women today.
The main themes of “The Taming of the Shrew” are gender roles and the supposed submissiveness of women.
But can also be seen as a subtle deconstruction of male fragility and a lampoon of traditional gender roles of Shakespeare’s day, and for that matter, of today.
This can be clearly seen in Act IV when Petruccio supposedly breaks Katharina’s spirit.
At the end of the act, she has become so submissive that she identifies the sun as the moon because she is told to do so.
– Really?
It’s not like women haven’t historically faked many things to appease men and allow us our fragile egos to feel superior.
in the words of the immortal Aretha Franklin – “Take another look and tell me baby. Who’s zoomin’ who?”
Kate then berates her sister for not being at their husbands’ beck and call over a bet?
”Fie, fie! Unknit that threatening unkind brow,
And dart not scornful glances from those eyes,
To wound thy lord, thy king, thy governor.”
(Katherina, Act 5 Scene 1)
Does Kate actually submit?
Or is she in on the joke and pretending to go along turning the tables on her smug spouse?
I’d argue the latter is more in keeping with Kate’s character.
The stellar and wonderfully talented ensemble cast includes David Elyha, Ellen Lanese, Fernando Gamarra, Hari Bhaskar, Jaixa Irizarry, John L. Payne, Kenneth Michael, Kezia Tyson, Mark Vaughn, Nina David, Padraig Bond, Steven Ungar, Venkatesh Vohra, and Vivien Landau (Shiva Baby) as Baptista.
The question of whether this play is misogynistic has been the subject of considerable controversy over the years.
“The Taming of The Shrew” unquestionably is misogynistic.
It’s in the title. – A strong woman is reduced to a tenacious rodent that needs to be “fixed”.
What would one call that?
However, it comes down to if you subscribe to the theory that Shakespeare was either lampooning gender roles or defending them.
What was Shakespeare’s intention? I thought I knew since first reading the play.
Now? I’m not so sure.
The Bard often took aim at the powerful and influential in his society, which is in keeping with the Arts in general. Perhaps this was a challenge to gender roles hiding in plain sight? If not? Why shouldn’t it be?
I choose the later after seeing this nuanced and bold interpretation performed with such depth by the players of Frog & Peach Theatre Co.
The real question bolis down to, do you have a problem with misogyny in our society?
If you do?
This is a timely, cautionary tale cloaked within a dark comedy that shouldn’t be shunned or ignored, but spark dialogue, encourage thoughtful discussion and taught to students everywhere.
If we’re still in the business of encouraging critical thinking in our students as a nation.
If you don’t take issue with misogyny? You should. That’s a moral failing as a functional adult in a modern society.
This attitude is why we find all our civil liberties imperiled today.
We simply cannot claim to live in a free society where more than half the populations personhood is still under debate.
These kinds of productions are not here to make you a better person. That cake is baked. However, this subject matter is vital for children to understand and explore and Frog & Peach delivers a fast-paced, beautifully acted performance of Shakespeare’s Taming of the Shrew, true to the Bard’s text yet accessible and resonating with modern audiences.
Theaters have always been places where individuals, both civil and cultural, have become aware of each other through their presence and reciprocity.
The primary relationship that fosters this sense of otherness is not subjective but collective.
The act of gazing at the other and the spectator’s gaze at a stage set are the key elements that build this connection as was embellished upon in the thoughtful talk back hosted by principal castmembers DazMann Still, Amy Frances Quint, Eric Swanson and Lenny Ciotti, moderated by Director Lynnea Benson.
It’s more important, with the Arts having a tradition of being both societies mirror and a window to encourage explorations of others lived experiences, that companies like Frog & Peach continue their efforts to entertain, inspire and create experiences for young people in particular.
In the final line of the play, a triumphant Petruchio exclaims his approval of his “new and improved” Kate-
Why, there’s a wench! Come on, and kiss me, Kate.
(Petruchio, Act 5 Scene 1)
In my minds eye. Kate gives a knowing wink at the audience upon curtain drop.
The production ran from February 28 to March 23 at The Cullum Theatre at the American Theatre for Actors (314 W 54th St, NYC).
Choreography was by Geneva Jenkins. Marcus Watson ensures thrilling stage combat, while Mathew Seepersad manages the production.
Lynnea Benson, Co-Founder and Artistic Director of Frog & Peach Theatre Co., directs the production.
Acclaimed for Verbatim, As You Like It, College Fun, and past productions of Twelfth Night, A Midsummer Night’s Dream, Macbeth, Much Ado About Nothing, Titus Andronicus, Hamlet, Richard III, and more, Benson leads Shakespeare & arts curricula for K-12 students and vulnerable New Yorkers.
Taming of the Shrew performances were on Thursdays, Fridays, Saturdays at 7:30 PM, and Sundays at 3:00 PM, with a Wednesday performance on 3/19 at 7:30 PM.
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Photo Credit – Photo by Maria Baranova
