Review: The Taming of the Shrew
Lionstar Theatre, above Jerry’s Deli, Studio City; Excalibur Theatre Company
Review by Daniel Holmes
William Shakespeare’s comedy, The Taming of the Shrew, is being performed in the manner of the commedia dell’ arte by the new Excalibur Theatre Company in Sherman Oaks.
The story opens with Baptista, a wealthy man, who wants to marry off his two daughters: Bianca is pretty and sweet, and, with three suitors hoping to wed her, is no problem; Katherine, however, is as beautiful as she is obstinate and relentlessly cruel. Baptista decrees that no one will marry Bianca until Katherine (the Shrew) is also pledged. Bianca’s three suitors—Grumio, Hortensio, and Lucentio—unite in persuading Petruchio, a citizen of Verona, to break the wedding deadlock by winning Katherine over. Petruchio’s courage and love of money bring him to Baptista, who agrees to the match, and the battle between the sexes begins. On his wedding day, Petruchio defiles the ceremony by dressing Katherine in inappropriate clothes and abusing the priest—in essence, becoming a shrew himself. His caustic treatment eventually wears Katherine down and, in the end, everyone is astonished with her transformation as a compliant and commendable wife.
In Excalibur’s production, physical humor is what sells. And using the commedia costumes and masks turns this version of Shrew into “Shakespeare Lite.” The script is used merely to prop up a Three Stooges performance. The troupe relies more on sight gags and glottal noises than on the wit of the play. For a young audience, this may work, but those who appreciate Shakespearean comedy will not be pleased.
The talent in the cast is uneven. Carl J. Pfeifer’s Petruchio is full of energy and guile, but as his nemesis, Katherine, Tally Briggs lacks variety. As Petruchio becomes a slovenly cur and abuses his new wife with growing intensity, Katherine never truly breaks down. Commendable performances are handed in by Kelie McIver, as the goody-two-shoes Bianca, and Thomas W. Ashworth, as Tranio. Other than a good portrayal of Pedant by Timothy Storms, the supporting cast was either mediocre or just simply forgettable.
This production rewards the audience with humor, colorful costumes, and masks, but sheds little light on the crux of the play—the ongoing battle between men and women. Director Thomas W. Ashworth steers clear of any “message,” and opts instead to make a caricature of the male id.
In the end, this production falls short. As a theater committed to children, they might have a viable product, but those who want more from Shakespeare will just have to wait. ♦