For most theatre people I know, myself included, the eve of the Tony Awards is a major vacation. Months alee we anticipate the nominations and potential winners of each category. This past Sunday, I opted out of my usual yearly Tony Award viewing experience to see the Station'south The Taming of the Shrew by William Shakespeare, with management by Laura Alcantara. I have discovered that the typical humble oversupply on Sunday evenings provides for an intimate and enjoyable night, much similar the 1 I had at The Taming of the Shrew.

Tamingis by and large known modernly as one of Shakespeare's most prominent comedies. Perhaps you've seen popular tardily '90s film Ten Things I Detest About You. Or perhaps you lot've heard of the musical Osculation Me, Kate. The title itself stems from lines repeated over and over past Shakespeare's original character Petruchio. And though information technology did not pick up whatever Tonys this by Sunday, Buss Me, Kate received some nods with four nominations for it's 2019 revival, including Best Revival of a Musical. Katewas also recently performed at Krannert Eye for the Performing Arts by Lyric Theatre at Illinois. (Click hither to read virtually that functioning.) Like in The Taming of the Shrew, Kate follows simultaneous plots; ii zesty lovers and men battling it out for the hand of a fair maiden.

Mindy Smith led the cast of xi in the titular role. Smith'due south Kate is as big and bold every bit her 1980s-inspired hairstyle. Using the suave and cool influence of musician Prince, Kate has a natural language of a firecracker that is every bit matched by her suitor Petruchio, portrayed by Mathew Green. I attended the product with local theatre artist Ashton Goodly, who best put it into words: Shakespeare paints Kate and Petruchio as ii competing antagonists.

The product's eclectic ensemble included Lincoln Machula as Kate'southward wealthy father Baptista, Wesley Bennett as the charming merely sly Lucentio, Celia Mueller as middle-human Tranio, Raymond Watson as welcoming Biondello, and Mary Rose Cottingham every bit The Widow. A key supporting operation came from Laura Welle's Hortensio. Both my colleague Goodly and I agreed that Welle's portrayal reminded us a chip of Draco Malfoy. To exist fair, Hortensio's costume did feature a Slytherin-like emerald vest.

Aside from the subtle Harry Potter vibes, the influence of the creative person Prince appeared through the swagger of the characters and the production's overall design. The imperial and pink — or rather, raspberry — walls were emphasized with nostalgic blunt paint strokes. Through the transitions, Prince'southward cracking 1980s musical hits were pumped through the speakers.

The style artful reflected that of Prince as well. Kate's spunky array of spiky necklaces added some metal to the mix, while Petruchio'southward ruffled white bib paired with a lacy skirt and necklace blurred the lines of gender in dress. Other standout costume pieces included the blinged out gold boat shoes that Matt Hester wore with a black and gold tracksuit equally the pompous neighbor Gremio, and the carmine scarf ensemble worn by Parker Evans every bit rockstar Petruchio's "groupie" Grumio.

Criticism of this play typically involves this play'south treatment of women. I tin come across how that would be valid considering traditional gender roles are established through the language, and the whole idea of women existence "tamed" by men is conspicuously outdated in these nowadays times. While there are definitely some cringe moments that are unavoidable due to the linguistic communication, I institute Alcantara's intent equally director was to reclaim them for the women in the story.

Alcantara tailors the story well to spotlight the women'southward power over the men, suggesting that the Shrew'has really been the men of the story all along. This is demonstrated when Kate's younger sister Bianca, portrayed by Jordan Needham, easily takes reward of her father'due south onetime school views on women. To get away with her antics, she disguises her cunning laughter for bubbling tears. She takes advantage of the system and plays the game to her own do good, finding true love with the handsome Lucentio.

In the terminate all be all moment of the play, Kate is literally compensated for her troubles dealing with an assortment of shrewish men. Flipping the narrative upside on the head, Kate receives a pocketbook of money — her own dowry — which signifies how she has played the game and tamed both her shrew husband, Petruchio, and her shrew begetter, Baptista.

All in all, The Taming of the Shrewmade for an entertaining nighttime of theatre. Watching the schemes of each graphic symbol play out was hilarious, especially with the men's various attempts to woo and establish dominance over ane another backfiring. Shakespeare's original story was creatively deconstructed and reconstructed in a contemporary style with a funky 1980s Prince spin. The confines of gender roles and expectations were explored in a way that revitalized the archaic text. Like the beliefs of society, stories shape and transform time and time once more.

The Taming of the Shrew
The Commemoration Company at the Station Theatre
223 Due north Broadway Ave
Urbana
June six-22
All shows at 7:thirty p.m.; June 22nd at three p.m.
No performance June 16th
Tickets: $fifteen regular, $10 students + senior
Guild tickets online here

All photos by Jesse Folks