Review: ‘Taming of the Shrew’ wildly reimagined

“My tongue will tell the anger of my heart.” You betcha – I’ve always had an angry heart with Shakespeare’s “The Taming of the Shrew.” Stereotypes, themes of misogyny, social hierarchy, and gender (OK, it was acceptable in the 16th century), and multiple subplots have always upset me, and caused me to avoid this problem play, somehow always billed as a comedy. But hold on – Northwestern professor Shana Cooper’s flamboyant adaptation and direction may be just the invitation to reexamine the Bard’s work.

From the second the Broken Chord’s horn medley begins, and the vibrant, metallic “Guys and Dolls” style mustachioed and fedora-wearing ensemble enter to prance, shimmy, dance and chase their way across scenic designer Andrew Boyce’s ornamental sculpture garden and AstroTurfed stage, I knew I was in for something different. This wasn’t going to be the traditional, infamous tale of the battle of the sexes. Cooper has cut lines and eliminated scenes; she throws in references to “Jersey Shore,” the song “Get Me to the Church on Time” and Crocs, with a subtle shifting of the word “woman” to “people.”

(“I am ashamed people are so simple,” Katherine says.) And thanks to Cooper and choreographer Steph Paul, there is much creative, energetic staging in this production.

So let’s recap. It’s Padua; Baptista, the father of two unmarried daughters, has a problem. Everyone likes the younger Bianca, but she can’t get married until older sister Katherine, aka “the fiend from hell” and a “small choice in rotten apples,” is wed. Enter Petruchio from Verona, and after a seemingly gold digger business transaction, Petruchio

marries the very reluctant Kate and utilizes a lot of tormenting tactics “to render her an obedient wife.”

This production has a superbly talented five-member cast. Casey Hoekstra, Colleen Madden and James Ridge admirably portray a multitude of characters – somewhat confusing at times – but watch those fedoras, glasses and bridal veils for clues. Ridge portrays both the Father and Bianca with a subtle change of fedora and bridal veil, and does so with humor and passion. The red-suited Colleen Madden is the wealthy widow, and the strong, eager and loyal servant Tranio (a very meaty part). Casey Hoekstra gets to portray both Lucentio and Hortensio, so bold and confident. These three actors are vibrant onstage.

Alejandra Escalante is the spitfire Katherine (aka Kate), and Daniel José Molina is Petruchio. They are perfectly cast, never letting up on the “will they or won’t they” question. Escalante’s Kate has a dramatically pleasing temper and a wondrous, enviable scream; with her talent, she makes the transition in the second act all the more credible. She’s a fierce balloon popper, too. Both she and Molina are gifted in facial and vocal expressions; they make Kate and Petruchio genuinely compelling. And despite Petruchio’s initial concern as to whether he’s even going to live after meeting Kate, Molina’s Petruchio delivers assuredly; his character is confident and intelligent. In this adaptation, he even defends Kate, emerging from “she is my goods” to discovering his love for her.

There is another strong player in this production: costumer Raquel Adorno has created an intriguing palette. It’s quite surprising to see Petruchio in his unusual wedding attire, and the outfits in the sun/ moon conflict in the second act make a definite statement. Bathrobes, zoot suits, elegance and tatters abound.

And that ending! Thank you, Cooper, Molina and Escalante. Petruchio realizes being a winner is because of love; the song “Tonight You’re Mine Completely” follows with much appropriateness and delight. And OK – I get it. Shakespeare was a working playwright who had to pay the bills. In the 16th century, his primary focus was to entertain and pen productions the population wanted. Not me in this century. But because of Cooper’s insightful adaptation, I just may forgive Shakespeare for this one.

• Although Regina Belt-Daniels has appeared in several Shakespearean plays, “The Taming of the Shrew” has never been one of them. Since the first grade, she has been involved in a multitude of plays and musicals either backstage or onstage; she also has directed plays and musicals at the Raue, Woodstock Opera House, RCLPC, Elgin Arts Center and MCC’s Black Box. Shakespeare would approve.

IF YOU GO

WHAT: “The Taming of the Shrew”

WHERE: Touchstone venue of American Players Theatre, Spring Green, Wisconsin

WHEN: Through Nov. 14; two hours and 20 minutes, one intermission

COST: In-person tickets from $56-$96, with discount available; streaming option for $32

INFORMATION: 608-588-2361, americanplayers.org