A show in two parts; the best way to describe The Taming of the Shrew: A Kinky Retelling.
First and foremost, what stands out about this production is how talented both Paige Hann and Zak Rosen are: Both as creators and performers of the adaptation.
Both have a really high command of Shakespearean language; the way they deliver their lines is hugely engaging, and you buy into their characters instantly. This, combined with their reimagining of the original Shakespeare comedy, is of the highest standard and cannot be praised enough. The way they are bringing Shakespearean texts into the 21st century is inspiring. The fact that this is a mixed-media and mixed performative style production is also really interesting.
As you’d expect, the production is true to the original themes of Shakespeare’s comedy – those being gender roles and power dynamics, performance and identity (disguises, role‑playing), marriage as a social contract and finally comedy and cruelty in relationships; however, what is clever about this piece is the role reversal Katherina and Petruchio undertake – with power play putting Petruchio as a submissive sworn to obey and fulfil all of Katherina’s pleasures and desires. The role reversal is a really interesting theme, especially when played within the context of a BDSM set-up – who is the real powerful person in play, the dominator or the dominated! After all, is this piece still about the man’s ideals being fulfilled or is this about Katherina seeking pleasure from her suitor!
On the way up to the auditorium (yes, there are a number of steps to climb), audience members are checked in by Rosen, attired as an air hostess. They are asking if people want to participate in the production, and each of us is given a token flag (mine read Love is Love)
As we take our seats in the auditorium, we can read a projection upstage stating “The Safeword is Iambic Pentameter“. I instantly had high hopes for the piece as I took my seat.
Hann, as Katharina, enters belting out the Alanis Morrisette feminine anthem ‘You Oughta Know’. She has a great voice and sets up the show well; I was feeling excited about what was about to unfold.
If the piece had just stuck with this and performed this clever reimagining of the text, I would have been fully sold. Both Hann and Rosen have an undeniable chemistry on stage; the language and loquacity hit all the right markers, and their performative style as Katherina and Petruchio is admirable. The piece is a “mash-up” of a structured play and interactive cabaret-style drag show, which, sadly for me, didn’t quite work. I think I can see what they were trying to do; however, it felt like a university final-year show, rather than a paid-for production (I say this as someone with a theatre degree who has performed in this style of show). It could be that I’m not the target audience because everyone else appeared to be loving this part of the show! Maybe I’m old, but I really didn’t see the need for the Britney Spears ‘Toxic’ dance break, regardless of how much fun it was to experience.
I can’t finish the review without saying I loved the on-stage projections representing the off-stage encounter between Katherina and Petruchio; this was a stroke of genius and added to the “love story” rather than taking away from it. All in all, I came for the kinky retelling and stayed for the Shakespeare.
Review by Faye Stockley
What if he’s the shrew, and he enjoys the taming?
Katherina Minola is full of rage. Rage at the misogynistic society she was born into. Rage at her father for his abusive behaviour and preferential treatment. Rage at her sister for going along with it all.
With her father insisting she marry before the beloved Bianca can, Katharina seems doomed to a cold, loveless marriage with anyone who’ll take her. Until Petruchio, a young gentleman from Verona, comes crawling on hands and knees, with a gentle smile and a twinkle in his eye that screams “Peg Me Mommy.” Can Kate grow to love this unusual man and his unusual proclivities – and maybe even herself in the process? Find out in this heart-felt, kinky adaptation of The Taming of the Shrew – come for the handcuffs, stay for the healing.
Content Awareness: Flashing lights, verbal abuse, partial nudity (performers in underwear)
Developed and Produced by the Society of Strangers Theatre Company
Performed by Zak Rosen and Paige Hann
THE TAMING OF THE SHREW: A KINKY RETELLING
Bread & Roses Theatre
28 and 29 September 2026
