Bonnie J. Monte
got not one, but two standing ovations on Saturday night.
The first occurred before the show. The artistic director came to the front of the stage at her Shakespeare Theatre of New Jersey to introduce her production of "The Taming of the Shrew." Before she could speak, audience members jumped up to acknowledge Monte — who is starting her 20th anniversary season at the Madison playhouse.
Two-and-a-half hours later, the first-nighters were back on their feet to cheer what they had just seen: Monte’s thoroughly satisfying production of one of the Bard’s most controversial plays.
When the play was first produced — more than 400 years ago — there was probably no outcry when Petruchio, a native of Verona, came to Padua and admitted that he wanted to marry for money. Possibly no eyebrow was raised when Baptista made the deal to have him wed his recalcitrant older daughter Katherina. What also seemed reasonable to Elizabethan audiences was that younger daughter Bianca wouldn’t be allowed to marry until Katherina did.
The Taming Of the Shrew
Where and when: Shakespeare Theatre of New Jersey, F.M. Kirby Shakespeare Theatre, 36 Madison Ave., Madison. Through June 27. Tuesdays and Wednesdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 2 and 8 p.m., and Sundays at 2 and 7:30 p.m.
How much: $39 to $54. Call (973) 408-5600 or visit ShakespeareNJ.org
So how can a director make such a backward-looking sexist piece work today?
Monte takes a big risk by removing the play out of the 16th century. “Taming” is a play that profits from seeing men in capes and tights and women in glorious gowns with deep necklines.
Instead, Monte has set her production 100 years ago in Italy — but that works, too, because that was still a time and place in which fathers held such sway over their daughters. Erin Murphy helps to define the era with some handsome period costumes, and Michael Giannitti’s warm lighting reminds us that we’re in a sunny land.
How smart of Monte and Murphy to put Katherina — the always excellent Victoria Mack — in a horse riding outfit and have her carry a whip. It’s a subtle yet effective way of showing a woman who’s been used to dominating. Yet Mack peels away the layers to show a woman who has been hurt by a father who simply doesn’t understand her, and who gave up on her long ago. Although his cold behavior has made her worse, Mack shows there’s a nice person under the wounds.
Monte and Steve Wilson have re-imagined Petruchio, too. Although he comes down to brass tacks when asking for Katherina’s hand (or her fist?), he soon finds a sensitivity not found in most Petruchios. Even in the scene where he’s purposely difficult and plays with Katherina’s head, he comes across as a lover playing a skittish game.
As for Bianca, Monte tells us everything we need to know about this child of privilege from the first image she concocts for her. Katie Fabel grabs a chocolate from a box, takes a bite, then thrusts the half-chewed piece back while making a disgusted face. Better, Fabel well maneuvers Bianca on the necessary journey from daddy’s little girl to a woman who discovers love. Of the three men vying her hand, Jack Moran’s Lucentio is the most appealing.
Monte has added some slapstick — a head is hit by a suddenly open door, etc. — in the grand tradition of playing to the groundlings. That head belongs to James Michael Reilly, one of Monte’s deserved favorites, playing Grumio, Petruchio’s servant. Some people are said to have ice water in their veins; with his extra-dry sense of humor, Reilly seems to have dust from an Arizona desert in his. He suggests a person who’s lived so long that absolutely nothing can surprise him, no matter how bad or how good.
All in all, it's a most successful night. If Madison audiences are lucky, Bonnie J. Monte will be heading the Shakespeare Theatre of New Jersey for another 20 years — or more.
Peter Filichia may be reached at pfilichia@starledger.com.