NEW YORK—Few of Shakespeare’s plays are as problematic in modern times as the comedy “The Taming of the Shrew,” now being staged by The Public Theater in Central Park. The problems are due to the work’s underlying themes regarding women. Indeed, the program notes from The Public’s artistic director, Oskar Eustis, explain his misgivings about the piece. Though Eustis expresses great faith in Director Phyllida Lloyd and her all-female production, her vision ultimately falls short.
In Padua, Italy, Bianca (Gayle Rankin), the beautiful younger daughter of the wealthy Baptista (LaTanya Richardson Jackson), is beset by multiple suitors. Baptista, though, will not allow Bianca to wed until his elder daughter Katherina (Cush Jumbo) is first married.
But this decision presents something of a problem. Katherina has a rather violent disposition, plus a distaste for most men in general as well as the institution of marriage.
Enter Petruchio (Janet McTeer), a fellow more than a bit full of himself, with a fondness for drink. He has journeyed to Padua to find a rich wife. Hearing about Katherina, he quickly presents himself to Baptista, despite multiple warnings from others regarding her temperament.
Not surprisingly, Katherina spits, screams, and rebuffs Petruchio’s initial advances, but in the end finds herself basically forced to marry him. Her father has convinced himself—with quite a little prompting—that both sides want the match. He is also the one male Katherina obeys.
Meanwhile, Lucentio (Rosa Gilmore), a traveler from Pisa, has fallen in love with Bianca and hatches a plan to get close to her. Having his servant Tranio (Adrienne C. Moore) assume his identity, Lucentio disguises himself as a tutor who, with Tranio’s help, is hired by Baptista to educate Bianca in music and mathematics.
The subplot with Bianca is played mainly as a romantic comedy, with elements of mismatched suitors and mistaken identity. However, it is the Katherina/Petruchio storyline that takes center stage.
