The Taming of the Shrew

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https://adelaide.edu.au/partners-and-community/theatre-guild/

Date Reviewed: 09/05/2026

Once again, we were back at the gorgeous Little Theatre at Adelaide Uni—such a gem of a performance space—and it was wonderful to see most of the seats filled for this Saturday matinee.

The Taming of the Shrew is one of William Shakespeare’s comedies and centres on the battle of wits between Katharina and Petruchio, while exploring gender roles and marriage. Whether the play is inherently misogynistic has long been debated.

Over the centuries, it has been adapted countless times for stage, screen, opera, ballet and musical theatre, from Cole Porter’s stage musical Kiss Me, Kate to the 1967 film starring Elizabeth Taylor and Richard Burton. More recently, the 1999 teen favourite 10 Things I Hate About You offered a loose modern retelling.

In this sharp reimagining, Paradise was a powerhouse record label and the battlefield was the charts. Bianca was the next global pop export, polished and playlist-ready—but her outspoken sister Kate, a rock chick who refused to soften her edges, stood defiantly in her way. Enter Petruchio: part entrepreneur, part opportunist, and determined to “woo” and rebrand the label’s most “untameable” artist.

I’ve always loved the language of Shakespeare, even if I sometimes struggle to keep pace with the twists and turns of his plays—unless, of course, it’s one of the three I studied at school, all of which I now cherish and never miss a chance to see. The Taming of the Shrew wasn’t one of those familiar favourites, and despite brushing up on the plot beforehand, I found myself a little adrift once or twice. But none of that mattered, because overall, I loved this production.

From the very first moment, when the cast stormed the stage as rock stars, the show announced itself as brash, bold and super confident. The performers delivered Shakespeare’s dense, rapid-fire text with clarity and impressive precision, keeping the audience hooked from the outset.

Early in the piece, clever references to ’90s music were woven into the dialogue, complemented by witty “concert” posters scattered across the walls. Music continued throughout the production—think ’90s grunge and pop rather than anything remotely Elizabethan—which added to the bold confidence and infectious energy of the performance. Beyond that, the set was minimal, and it was remarkable how the simple addition of a lone couch or a few chairs instantly shifted the scene and provided just the right sense of place.

I’m not usually a fan of modern dress in Shakespeare, yet the contemporary costuming here was a triumph. Paired with the overall musical vibe, it injected the production with a vibrant energy that elevated the entire experience. Sue Cayzer, in her first venture into community theatre costuming, truly hit the ground running.

This was quite a large cast on a relatively small stage, yet it never felt crowded—the space seemed to expand and contract effortlessly to accommodate the action. I applauded everyone involved, though for me, Deb Walsh, Jessica Merrick, Tom Tassone and Leah Lowe were particularly outstanding.

This production exceeded my expectations and was a must-see for Shakespeare lovers—and for anyone looking to broaden their Shakespearean horizons.

Reviewed by Deb Secombe