The Taming of the Shrew @ The Globe

Following the finale of my Shakespeare course last Wednesday, I thought it was about time that I went off to the Globe as it was getting rather embarrasing that I was the only class member who had yet to stand in the open air pith and get legless for a fiver. The Globe have produced an all Irish themed version of Taming of the Shrew which was a treat for all, and largely based on the 1916 Easter rising of Ireland. The choir set the lyrical scene and got the audience ready for their Irish jigging, and infamous party scenes with their high energy. Taming of the Shrew is the famous tale of sibling rivalry between Bianca and Katherina who are both competing for the affections of their father, as well as their future spouse. Katherina is well viewed as the headstrong rebel who knows her own mind and heart, and who finally subordinates herself to becoming the wife of ruling Petruchio. Bianca is the younger sibling who is as good as gold, and honours her fathers every wish. Director Caroline Byrne produces a diverse and mixed gender cast, and very much plays an old classic to a very modern audience. Aoife Duffin as Katherina embraced a strong vocal start with some Irish singing which soon turned into the painful embodiment of her future journey throughout the performance. Each of the actors brought realism, heartache and comic interludes to each one of their characters. The Globe is well known for actors entering through the public crowds, and this element gave a more cohesive feel to the production, particularly when the whole floor opened for a party at the wedding scene.

The play is well noted for its misogyny and feminist tones, and Katherina's (Aoife Duffin) scene when she is being dressed for her wedding day was a powerful embolism of the liberty that she feels is being revoked from her. The physical acting of Duffin was sublime, as the strings to her corset were being pulled ever tighter, the audience witnessed the restriction of her character and felt the pain of her being controlled. Even the costume design itself signified the chains of her freedom, and resistence to being married. Petruchio's (Edward MacLiam) entrance was comically timed, and the physical encounters between Duffin and MacLiam were impeccably choreographed. Duffin had magical facial expressions of disgust, empathy and indifference all rolled into one and always managed to make the audience hate her one minute and feel compassion the next. The wedding day was jestful, and made the audience feel at one and the actor's discussions off stage about the event sealed the gelled integration of the characters and the public.

The douleur of Duffin's voice brought vivid imagery and supposed tyranny in terms of the socioeconomic and political context of the piece. Shakespeare has this magical quality of writing plays that can be adapted to any plight or strife which can be transformed to transcend a 21st century interpretation. Following the first half of high energy, laughter and ridicule, the second half adopted a slightly slower and more melancholic twist which focused on the strife of marriage and woes of Katherina and watching her transform into a more pliable and obedient spouse to Petruchio. Duffin managed to portray this swift in Katherina's behaviour rather subtly but noticeably through the physical degradation of a well kept woman.

Next week: Monday 27 June 'Olu' @ The Pleasance, Islington.