Productions

Pick one of these moments, settings or relationships from The Taming of The Shrew to investigate how they have been staged in performance.

As you explore you will find picture galleries from past productions and things to consider as you look at these.

  • A Man's World

    Investigate the world

    How has the patriarchy in The Taming of the Shrew been represented and staged?

    The expectations surrounding both Katherina and Bianca’s behaviour are due to the patriarchal society in which the play is set. Men have power, whilst women are supposed to be obedient to their fathers and husbands. Marriage is considered to be a business deal in which women are traded to the highest bidder.

    Take a look at the Things to Consider and investigate the different ways we’ve staged a patriarchal world in past productions in this picture gallery. There is also the opportunity to investigate Act 1 Scene 1 in more detail, to look at how Baptista interacts with the men who are interested in marrying his daughter.

    The Taming of the Shrew_ 2003_ production photo_2003_Photo by Jonathan Dockar-Drysdale _c_ RSC_281674

    Members of the company in the 2003 production of The Taming of The Shrew. 

    Photo by Jonathan Dockar-Drysdale Browse and license our images
    The Taming of the Shrew production photos_ 2019_2019_Photo by Ikin Yum _c_ RSC_275420

    Members of the company in the 2019 production of The Taming of The Shrew. 

    Photo by Ikin Yum Browse and license our images
    The Taming of the Shrew_ 1960_ Katherina preaches wifely devotion_1960_Photo by Angus McBean _c_ RSC_43598

    Katherina preaches wifely devotion in the 1960 production of The Taming of The Shrew. 

    Photo by Angus McBean Browse and license our images

    Things to consider

    As you look through the images and photographs from past productions of The Taming of The Shrew, think about:

    • What choices has the designer made to differentiate how men and women appear? Do the colours or shapes of the costumes tell us anything about how men and women are expected to behave?
    • These images are nearly all taken from the closing scene of the play, where the men gather at Baptista's house and take turns to command their wives to join them. What do you notice about the presence of the male characters on stage? In the 2019 production, director Justin Audibert reversed the genders in the play so that this moment features all women on stage in traditional dress. Does this change the way you view this moment? What strikes you about this production in comparison to the others?
    • How have the designers connected the male and female characters and how is the dominance of men established on stage? Do you think this comes across or is it open to interpretation?

    How would you choose to create the sense of this male-dominated society on stage?

  • The Wedding

    Investigate this moment

    How has Petruchio’s strange behaviour at his wedding to Katherina been represented?

    In the Taming of The Shrew, marriage is hugely important for all of the characters, and it is often negotiated like a business deal. The expectations around marriage are strict: when Petruchio arrives for his wedding to Katharina, we hear how everyone is shocked and amused by his dress sense and behaviour as it defies all usual conventions. There are three weddings that take place over the course of the play, however whilst we see the the preceding preparations and the outcomes afterwards, the ceremonies are not featured in in the scenes. It can be an important to consider how to represent the weddings and marriages onstage.

    Take a look at the Things to Consider and investigate the different ways we’ve staged this moment in past productions in this picture gallery.

    The Taming of the Shrew_ 2003_ Petruchio arrives_2003_Photo by Jonathan Dockar-Drysdale _c_ RSC_281583

    Petruchio arrives in the 2003 production of The Taming of The Shrew. 

    Photo by Jonathan Dockar-Drysdale Browse and license our images
    The Taming of the Shrew_ 1999_ Katherina and Petruchio are married_1999_Photo by Robert Workman _c_ RSC_103307

    Katherina and Petruchio are married in the 1999 production of The Taming of The Shrew. 

    Photo by Robert Workman Browse and license our images
    The Taming of the Shrew_ 1953_ Petruchio carries off Katherina_1953_Photo by Angus McBean _c_ RSC_42042

    Petruchio carries off Katherina in the 1953 production of The Taming of The Shrew. 

    Photo by Angus McBean Browse and license our images
    The Taming of the Shrew_ 1954_ Katherina and Petruchio marry_1954_Photo by Angus McBean _c_ RSC_63312

    Katherina and Petruchio marry in the 1954 production of The Taming of The Shrew. 

    Photo by Angus McBean Browse and license our images
    The Taming of the Shrew_ 1988_ the wedding_1988_Photo by Reg Wilson _c_ RSC_206681

    Katherina and Petruchio marry in the 1988 production of The Taming of The Shrew.

    Photo by Reg Wilson Browse and license our images
    The Taming of the Shrew_ 1996_ Petruchio_ Katherina and Grumio_1996_Photo by Reg Wilson _c_ RSC_196589

    Petruchio, Katherina and Grumio in the 1996 production of The Taming of The Shrew. 

    Photo by Reg Wilson Browse and license our images
    The Taming of the Shrew_ 1948_ Grumio_ Petruchio and Katherina_1948_Photo by Angus McBean _c_ RSC_41264

    Grumio, Petruchio and Katherina in the 1948 production of The Taming of The Shrew. 

    Photo by Angus McBean Browse and license our images
    The Taming of the Shrew _2012_Shelia Burnett _c_ RSC_28010

    Petruchio and Katherina marry in the 2012 production of The Taming of The Shrew. 

    Photo by Sheila Burnett Browse and license our images
    The Taming of the Shrew production photos_ 2019_2019_Photo by Ikin Yum _c_ RSC_275147

    Petruchia and Katherine in the 2019 production of The Taming of The Shrew. 

    Photo by Ikin Yum Browse and license our images

    Things to consider

    As you look through the images and photographs from past productions of The Taming of the Shrew, think about:

    • How Petruchio appears. The text tells us he is dressed unconventionally, but how have different productions interpreted this and how would you expect guests at the wedding to react to each version? Are some more comical than others and why? What do you think the impact would be of each interpretation?
    • Petruchio is late to his wedding, leaving Katherina at the altar and Baptista angry for the first part of the scene. How does Katherina come across in each of these images?
    • Katherina and her family are all expecting the wedding to follow strict rules and guidelines. How much can you tell about the expectations they have from the costumes of the guests and Katherina? How does Petruchio's costume provide a contrast to this?

    How would you choose to stage this moment and what choices would you make to help show the mood in this scene?

  • The Disguises

    Investigate this

    How have the disguises of Lucentio, Hortensio, Tranio and the merchant been represented in previous productions?

    Four people disguise themselves in The Taming of The Shrew and in doing so all adopt a different status to their own. Firstly, Lucentio and Tranio disguise themselves in Act 1 Scene 1; Lucentio disguises himself as a Latin schoolteacher, Cambio, lowering his status, whilst his servant Tranio takes on the higher status disguise by pretending to be his master Lucentio. Hortensio lowers his status to become the music teacher, Licio, and the merchant takes on a higher status by pretending to be the wealthy Vincentio. A production can interpret these disguises in many different ways, increasing either the comedy or tension in the plot.

    Take a look at Things to Consider and investigate the different ways we’ve presented the disguises in past productions in the picture gallery. There is also the opportunity to investigate Act 3 Scene 1 in more detail, to look at how Lucentio and Hortensio present themselves when in disguise.

    The Taming of the Shrew_ 1987_ Lucentio and Bianca_1987_Photo by Reg Wilson _c_ RSC_96105

    Lucentio and Bianca in the 1987 production of The Taming of The Shrew. 

    Photo by Reg Wilson Browse and license our images
    The Taming of the Shrew production photos_ 2019_2019_Photo by Ikin Yum _c_ RSC_275245

    Members of the company in the 2019 production of The Taming of The Shrew. 

    Photo by Ikin Yum Browse and license our images
    The Taming of the Shrew_ 1973_ Hortensio and Gremio_1973_Photo by Reg Wilson _c_ RSC_95397

    Hortensio and Gremio in the 1973 production of The Taming of The Shrew. 

    Photo by Reg Wilson Browse and license our images
    The Taming Of The Shrew _2008_Simon Annand_45109

    Hortensio in the 2008 production of The Taming of The Shrew. 

    Photo by Simon Annand Browse and license our images
    The Taming of the Shrew_ 2012_ Gremio and Hortensio_2012_Photo by Sheila Burnett _c_ RSC_27984

    Gremio and Hortensio in the 2012 production of The Taming of The Shrew. 

    Photo by Sheila Burnett Browse and license our images

    Things to consider

    As you look through the images and photographs from past productions of The Taming of the Shrew, think about:

    • When in disguise, how do the characters look different? Are the disguises comic or effective in concealing their true identity? How important are the disguises in generating comedy?
    • The competition for Bianca, especially between the disguised Lucentio and Hortensio, creates a lot of humour in The Taming of The Shrew. One of the key moments in this is the moment where Katherina breaks a lute over Hortensio's head, an event that happens off stage. How has this been done in different productions and which versions do you think have emphasised the comic impact of this humiliation for Bianca's suitor?

    How would you choose to stage this moment and what choices would you make to help show the humour in the characters' disguises and deceptions?

  • Katherina and Petruchio

    Investigate this relationship

    How has the relationship between Katherina and Petruchio been represented and staged?

    Katherina and Petruchio are regarded as a ‘mad’ match, who both defy the usual expectations of their society. Different productions have interpreted the story in very different ways, from presenting the play as a story of a man who changes a woman to fit his demands, to interpreting it as more of an equal match with both Katherina and Petruchio playing a performative game. The presentation and understanding of the play can vastly differ depending on the design and staging choices.

    Take a look at Things to Consider and investigate the different ways we’ve staged Katherina and Petruchio’s interactions in past productions in the picture gallery. There is also the opportunity to investigate Act 1 Scene 2 in more detail, to look at Katherina and Petruchio’s first meeting.

    The Taming of the Shrew_ 1954_ Petruchio and Katherina_1954_Photo by Angus McBean _c_ RSC_42486

    Petruchio and Katherina in the 1954 production of The Taming of The Shrew. 

    Photo by Angus McBean Browse and license our images
    The Taming of the Shrew_ 1988_ Petruchio and Katherina_1988_Photo by Reg Wilson _c_ RSC_206693

     Petruchio and Katherina in the 1988 production of The Taming of The Shrew. 

    Photo by Reg Wilson Browse and license our images
    The Taming of the Shrew production photos_ 2019_2019_Photo by Ikin Yum _c_ RSC_275422

    Members of the company in the 2019 production of The Taming of The Shrew. 

    Photo by Ikin Yum Browse and license our images
    The Taming of the Shrew_ 1992_ Katherina is tamed_1992_Photo by Reg Wilson _c_ RSC_275475

    Katherina is tamed in the 1992 production of The Taming of The Shrew. 

    Photo by Reg Wilson Browse and license our images
    The Taming of the Shrew_ 1953_ Katherina and Petruchio_1953_Photo by Angus McBean _c_ RSC_215401

    Katherina and Petruchio in the 1953 production of The Taming of The Shrew. 

    Photo by Angus McBean Browse and license our images

    Things to consider

    As you look through the images and photographs from past productions of The Taming of the Shrew, think about:

    • Whether Katherina and Petruchio look different to the other characters in the play. Do they rebel or conform in this society? Does this change at any points in the play? There are lots of ways of interpreting these characters and their relationship, but they are both outcasts. How is this shown? In the 2019 production Petruchia, traditionally Petruchio, wears her hair very high and is much more disheveled than the other female charaters. Part of the reason for this was to compensate for the height difference between her and the male actor playing Katherina, but how characters wear fashions tells you a lot about their interaction with society.
    • How the ‘taming’ of Katherina is depicted. Most of these images are taken from the final scenes of the play where Katherina and Petruchio appear to be in love and transformed. Is it cruel or a game, the way in which Petruchio seeks to change Katherina? How does this couple compare to the staging of the other couples in the play? What do you think the director intends us to feel about this marriage at the end? Is there a possibility that they are very similar and have found someone they can relate to or does it feel like Katherina has been forced into submission?
    • Are Petruchio and Katherina genuinely 'mad' or do they expose the injustices and hypocrisies of the society they live in?

    How would you choose to stage this relationship and what choices would you make to help show the mood in this scene?

Teacher Notes

The following activities will help students to think about interpretive choices and how they might stage The Taming of the Shrew, looking specifically at creating the world of the play and the idea of ‘disguise’.

Creating the world (2014)

The activity can be found on pages 15-16 and focuses on music and production choices. It takes approximately 20 minutes.

Becoming an Expert (2014)

The activity can be found on pages 12-13 and considers the disguises that the suitors take on to win Bianca. It takes approximately 30 minutes to run.