The Taming of the Shrew at Shakespeare’s Globe

The Taming of the Shrew once again returns to Shakespeare’s Globe, with carnival chaos and puppets. Directed by Jude Christian, the play follows a five-act structure, but that’s about the only thing kept in line with Shakespeare’s vision.

The adaptation brought the comedy and managed to follow the battle of wits and wills between the headstrong Katharina (Thalissa Teixeira) and her suitor Petruchio (Andrew Leung), who is determined to “tame” her into the role of a compliant wife. The scenes between Katharina and Petruchio were not nearly filled with enough conflict as they should’ve been, although Leung’s overexaggerated portrayal of Petruchio was hilarious, particularly when he continued to address Katharina condescendingly as Kate. Katharina gave as good as she got, although her airheaded sister Bianca (Sophie Mercell) was disappointing in contrast, who spends the best part of the play pushing around a strange doll.

Music is at the centre of the disorder, with Ed Ashby on the tuba and Richard Henry on the trombone amping up the ridiculous chase scenes and wacky musical numbers. Music also adds appropriate background noise to emphasise the sheer absurdity of the matches between the sisters and their suitors. As if that wasn’t strange enough, cast members enter and exit through the mouth of a giant teddy bear that has no bearing or relevance on the play’s subject matter.

Some modern alterations do work to comical effect without trying too hard. Tyreke Leslie nails the part (and the accent) of Tranio/The Nigerian Prince. The costumes are interesting and some follow a traditional look while most of the ensemble cast are dressed like they are stuck somewhere between 2024 and a time warp. They act as an accurate representation of what the play feels like, which is blended havoc. The added directions of audience participation make for some nice light-hearted moments, but overall, the attempts to modernise a play so integral to its time fall flat.

At least what is kept the same are the necessary parts of the story. The induction of Christopher Sly (Nigel Barrett) was as comedic as it was over-the-top and the physical comedy of the whole cast was top-notch. A special mention must be given to Hortensio (Lizzie Hopley) the talking mouth prop, and the puppet of Hortensio’s widow, which works to get some laughs out of Hortensio’s sad but funny realisation that Bianca does not want him. 

This adaptation of The Taming of the Shrew is a two-hour boldly reimagined take on the Bard, complete with out-of-place props, bright red makeup and hilarity. If you want to see a completely revised version of a Shakespearean classic that blurs the lines between the play’s source material and hyperbole, then Christian’s interpretation may be perfect for those insane enough to love it.

Sophie Humphrey
Images: Helen Murray and Ellie Kurttz

The Taming of the Shrew is at Shakespeare’s Globe from 6^th June until 26^th October 2024. For further information or to book visit the theatre’s website here.

Watch the trailer for The Taming of the Shrew here: