Review: THE TAMING: A FOLKTALE at Witches 3 Production is BRILLIANT Theater

William Shakespeare wrote The Taming of the Shrew in the late 1500’s as a comedy, numerous adaptions of the tale have been created for different creative genres including the stage, musical theatre, screen, ballet, and even opera.

Within all those adaptions, there have been some nuances with the title of the work including more notably Kiss Me Kate as a Broadway musical, Deliver U for Eva as an urban romantic film comedy, and Shakespeare Re-Told: The Taming of the Shrew as a dramatic long form political feature in a four-suite British series of Shakespeare plays.

In this incarnation of a Shakespeare classic, Witches 3 Productions picks up the torch in the retelling of the story with the title Taming: A Folktale, expertly directed by Cheyenne Haynes and starring a well synced cast of leads and supporting characters who reimagine this story utilizing much darker themes and scene transitions that were amazing given the size of the black box space the company had to use.

Now regarding this new company to provide context as to why this was such a POWERFUL show. Witches 3 Productions is a Dallas-based, women and queer-run theater company who is unashamed to push boundaries normally kept intact in mainstream theater and from that commitment came brilliant work that is a must see.

The opening of the production was spell bounding as Hortensio, played to perfection by the non-binary Whit Bates, started the process of drawing the audience into the world Witches 3 Productions sought to create. Walking around the stage with acoustic guitar, singing with gusto as the towns people walked mindlessly around, you know immediately you are in for a theatrical treat.

When audiences are drawn in, we see the courtship of Petruchio, portrayed masterfully by the exceptional Meagan Harris, and Katherine aka Kate played with tempestuous intensity by the incredible Katie Wetch, starting to unfold. Casting was perfect here because the chemistry was palatable and steamy, making audiences forget the leads are typically played by a male and female actor.

Regardless of the genders of the actors, the conflict some may still have centers around the theme of female domination by males which is still front and center culturally, as well as unsettling given the history of women in nearly every culture being subjected to the idea that a woman has to be “tamed” like an animal in order to be acceptable to a man as a suitable marital partner.

In Taming, this theme is still present as Baptista, played stoically by Malcolm Stephenson, basically is auctioning off his daughters Kate and Bianca, portrayed with demure sweetness and quiet self-determination by Jasonica Moore to the highest bidders complete with a dowry. Tranio, played matter-of-factly by Aren Hugo and Gremio, portrayed by stage veteran Dennis Raveneau in an outstanding support performance, both vie for the affections of Bianca but with the understanding that seniority plays a role and Kate must be married off first.

Despite their father’s intentions, Kate and Bianca still manage to maintain a good sister relationship, including a scene when they play fight as siblings often do which was well choreographed and felt completely authentic.

As the story progresses into the second act of this drama, the well-integrated use of live guitar, cello, and sound effects by director Haynes blended well with the storytelling unfolding and captured the anticipation and tension in this work.

That includes a well-choreographed fight scene between Petrucio and Kate when she tries to dominate Kate in what feels like a mating ritual. Petrucio is the consummate ruffian, and Kate matches her energy with extreme fire, refusing to relent to the advances and subjugate herself. The sexual tension in these interactions went from one extreme to the other. Desire and anger. Hate and love. Erotic and romantic.

In what can best be described as a cameo performance despite being seen at various points throughout the production, was a brief standout performance by Octavia Y. Thomas as the Widow, a silent protagonist of what happens when domination of another human being occurs.

With nearly no dialogue but through dead facial expressions and a life-less yet living physical presence, Thomas quietly carried the emotional weight of the theme of the story with such strength. For anyone who has witnessed this type of physical, emotional, psychological, and spiritual abuse, Thomas’s portrayal was haunting.