Amy Freed Adapts Shakespeare for Modern Times

by Robert M. Gardner

At the opening of African American Shakespeare Company’s “Taming of the Shrew,” I expected a retelling of Shakespeare’s famous battle of the sexes comedy. But I got a blast from the past, based in San Francisco’s 1967 Summer of Love.

Shakespeare’s words still resound in Amy Freed’s modern verse adaptation. Place names like Verona and Padua become Vallejo and the Haight Ashbury, but Shakespeare’s clever dialogue and humor remain. Petruchio’s blatant, Elizabethan, male chauvinist attitudes rankle modern sensibilities, making us wonder whether “all’s well that ends well.”

Set in the Hippie era, the costumes and speech remind us of 70s TV hit Soul Train. We are treated to the soundtrack of Aretha Franklin singing “RESPECT,” the feminist anthem, and the powerful funk dance beat of Rick James’ “Brick House.” The audience was singing along and dancing in the aisles as they left the theater.

The 70s music has the audience clapping along as the actors dance with the inventive, wild abandon of Soul Train dancers in its heyday.  Dressed in loud, bright colors that push the limits, the cast busts athletic moves that evoke howls of appreciation.

The screen backdrop explodes with a psychedelic light show layered over photos of The Haight in 70s San Francisco. A twirling Disco Ball enhances the magic and excitement of onstage disco dancers.

As Petruchio, flamboyant Joshua-Morris Williams fills the stage with his spirited presence. Petruchio’s dynamic persona makes a perfect match for the sharp-tongued Katherine (feisty Bethany Montgomery). With his firm control of physical comedy, Petruchio is a delight to watch, whether executing some soul dance or scheming to win Katherine.

The couple’s repartee constitutes engaging acting as it becomes clear that despite their struggles to remain in command, they are both infatuated. Katherine, rather than being a shrew reveals a deep-seated shyness:

Petruchio: What, art thou ashamed of me?
Katherine: No, sir, God forbid, but asham’d to kiss.

However, much of Shakespeare’s language and humor get lost in the rapid delivery. In part, Amy Freed’s adaptation of Shakespeare’s language does not fit seamlessly with 70s dialogue. My attention gets split between the catchy 70s music and following the updated verse.

Laycee Lynne Kieu demands attention as Baptista, the mother, replacing the father in the original. Her favoritism towards Bianca and antipathy to Katherine provide for much hilarity as the two daughters play off their controlling mother.

Baptista puts Bianca’s many suitors on edge by demanding that Katherine must marry before Bianca can accept one of them. The ageless battle between the sexes and controlling mothers makes for good theater.

As Petruchio and Kate celebrate each other, his final demand: “Kiss me, Kate!” provokes happy applause.  Who doesn’t love a good love story!  See African American Shakespeare’s “The Taming of the Shrew” for an updated take on men vs. women in love.

“The Taming of the Shrew” by William Shakespeare, modern verse translation by Amy Freed, directed by Giulio Cesare Perrone & L. Peter Callender, sound by Raymond Archie, lighting by Kevin Myrick, and costumes by Alia Davis.

—at African American Shakespeare Company, Marines Memorial Theatre, San Francisco. Info: african-americanshakes.org – to May 26, 2024.

Cast: Sylvia Abrams-Wolffsohn, W. Fran Astorga, Jason Blackwell, Najee Joyner, Layce Lynne Kieu, Bethany Montgomery, Ashley Raggs, Ije Success, Jamey Williams II, Jasmine Williams, and Joshua-Morris Williams.

Banner photo: Joshua-Morris Williams (Petruchio) & Bethany Montgomery (Katherine). Photos: Joseph Giammarco