One of the best modern adaptations of Shakespeare I’ve seen. It’s dynamite.
Petruchio is very happy here in London. One thing’s for sure: he doesn’t want to head back home to Nigeria, which is exactly where his mother wants him. How does he get out of it? By telling her he’s married. The catch? Mum decides she’s coming over to visit in three days to meet his new wife. So begins this fizzing retelling and deconstruction of a Shakespeare classic through the lens of London youth culture, and it’s dynamite.
The play is exquisitely written and it was a pleasant surprise to learn much of it was devised by the ensemble themselves. The scenes jump in and out of Shakespearean with an ease and adroitness that has the audience hanging on to every word. Placing the contemporary language right next to the original is perfect for increasing understanding—such as Petruchio’s summing up of his plan: “treat ‘em mean, keep ‘em keen,”—personalising the characters and leaving space for jokes to hit from left-field. It makes for an obvious yet un-preachy commentary, too, letting the audience see both the uncomfortable outdatedness and parallels of the themes. It would also be remiss not to mention the pleasure of teenage characters in theatre sounding like… teenagers.
All of the creative team pull their weight. Delyth Evans’ set design, with a balcony above the main space, is simple yet effective; Julian McCready’s lighting directs attention without getting in the way; Bolu Dairo’s costumes are of the time yet characterful and distinct; and Ali Taie’s sound design keeps injecting energy and, while too loud during the freshers’ ball, has even the oldest, whitest audience members bouncing to Giggs.
Stevie Basaula’s direction smartly moves the action around without confusion (not easy in a play with a large cast and characters in disguise) and ensures the tone is consistent, allowing these younger, exuberant actors the space to play.
They do a great job. Shining out is Keon Martial-Phillip’s Petruchio with his ability to turn on a dime, switch effortlessly into the verse, and add the inner motivations for Petruchio’s behaviour. Megan Samuel as Baps brings a joyous energy every time she enters the space and Tane Siah is almost note-perfect as Petruchio’s comedic brother/sidekick Grumio. All of the cast understand the assignment, perhaps no-one more than Morenike Onajobi who steals the show as Petruchio’s biting, witty mother—the embodiment of matriarchal superiority.
Particularly wonderful is the fact the entire cast, and some of the creative team, is made up of graduates from Intermission Youth: an organisation founded to transform the lives of disadvantaged young people through drama, which is celebrating its fifteenth anniversary. Some are recent graduates, some were involved over a decade ago, and most have gone on to further work in the arts. It was moving to hear one of the co-founders, Janine Gillion, speak on how Intermission aims to provide a home for all who are welcomed into this family. The love and gratitude was evident after the show and, I feel, radiated out during the show, too.
The Taming of the Shrew is a controversial piece. Some argue Petruchio’s treatment of Katherine (the “shrew” to be tamed) serves merely to mirror her own behaviour back at her to teach her a lesson, while others—myself included—view his behaviour as more misogynistic, manipulative and indicative of a view of women as objects or “chattel.”
Taming Who? manages this well and makes some excellent commentary throughout. There are moments it’s questionable whether the established character of Katherine would be taken along by Petruchio, and others where characters are manipulated in a slightly toxic way which are played for laughs, which made me uncomfortable. This, however, may be part of the point Intermission is making. The ending lands well, and is a fun choice, though I wonder whether the attempt to happy-end the show lessens the impact of its commentary. But hey, it’s a comedy. Right?
The fact is my partner and I left the show with great big smiles on our faces. For the brilliance of the idea and its execution, for the life-giving energy of the performers, and for the love we felt in the room for Intermission. Another tick is that today, as I write this, we are still talking about the message of the show, continuing its conversation. That’s a win in our book.
This is a show, and a cast, that deserves to be seen. And a project that deserves to be championed. After the show, Onajobi spoke with passionate eloquence about Intermission’s importance, about the need for a space where young black performers can play and create, about the need for a home. She’s right. Please show your support as Intermission turns fifteen years old, and then sit back and see what they can do in the next fifteen.
Find out more at https://www.intermissionyouththeatre.co.uk/ and book your tickets to Taming Who? here.