Taming Of The Shrew

The Taming of the Shrew is a play that’s often debated for its gender politics, its slapstick tone, its difficult ending - so I was intrigued to see how this modernised take would land. Straight upon arriving at HOME, we were greeted by the cast guiding us to the theatre with over-the-top fun and fabulousness - a hint of what was to come.

This version, directed by Amy Gavin and Hannah Ellis Ryan, and brought to life by HER Productions, promised a fresh perspective. And from the second we entered the space, which was transformed into a moody, atmospheric cabaret club, I knew this wasn’t going to be a classic take on Shakespeare’s story. 

This is Shakespeare meets speakeasy. Set inside Bella’s Club, the play is framed by a drunken character named Sly, who’s lured into the club and becomes part of a meta-theatrical performance - a “play within a play” where the house’s performers retell the tale of Katerina, Bianca, and their romantic entanglements. The story follows Katerina, headstrong and independent, who is effectively auctioned off to Petruchio, a suitor with ulterior motives and outdated expectations. Bianca, meanwhile, is courted by multiple men, disguised identities abound, and the chaos unravels with high-octane energy. It’s a familiar narrative, but in this version, it feels different.

There were several moments that stood out to me. A live cover of Can’t Take My Eyes Off You was unexpectedly heartbreaking, slowed down and twisted into something entirely new. The musicality of the show helped tell the story emotionally when words alone might have struggled. The whole show started off with a full on musical opening number, I even thought for one moment we might be in for a musical instead of a play. I also loved the comedic timing of the ensemble as every beat landed, and the physical humour was sharp without ever feeling forced. 

The design was brilliant in its simplicity. The set made HOME’s Theatre 2 feel like a sultry, low-lit nightclub with a cabaret table set up and pole dancing stage in the centre. Lighting was used to great effect, shifting tone and time without pulling focus. The visual language of the show  included microphones, cabaret elements, pole dancing, which added punch without gimmick. It was clever, evocative, and consistently stylish.

The costumes added to the sultry nightclub effect with fishnets, thongs and corsets. It had an element of period dressing, just with the sexiness massively dialled up. The costumes added colour to the stage, with pastels, purples and plenty of accessories adding some fun to the visual aspect. 

Shady Murphy gave a stunning performance as Katerina. She brought fire and wit to every scene, but also showed us the cost of being constantly misunderstood, constantly controlled. Her vulnerability in the latter half of the play was genuinely moving. Opposite her, Emily Spowage as Petruchio was charismatic, unpredictable, and at times chilling. There was a swagger and tension to her performance that never let the audience feel entirely comfortable. As a pair, they emphasised their differences - making for moments of laughter and comedy as well as more bitter and emotional times. 

The rest of the cast were equally strong, helping bring moments of comedy gold. Each brought so much personality to their characters, making them stand out against each other yet still work as an all-round ensemble. There were moments of audience participation and breaking the fourth wall that meant we were part of the play throughout - whether it was through pointing a microphone at specific audience members or holding up cue cards to spark a reaction.

HER Productions always aim to involve the audience rather than just perform at them, and this show nailed that balance. The cabaret format meant you were constantly part of the action - we weren’t just watching a story, we were in it. There were audible laughs, quiet gasps, and moments of real reflection, not bad for a 400-year-old comedy. These were the moments that seemed to stick with the audience, with people still buzzing and chatting as they left the theatre. 

It’s definitely a unique take on Shakespeare, making it really feminine and bold - a completely different take to what I’d imagine the original show would’ve been. If you’re unfamiliar with the story, it’s not too hard to follow but I’d recommend reading a quick overview before going so you can really get to enjoy the performance. It’s fast-paced with a fair few characters, all which bring a different element to the play.

In short, The Taming of the “Shrew” at HOME Manchester is bold, theatrical, and unapologetically modern. It doesn’t try to erase the play’s problematic past - instead, it confronts it with humour, power, and perspective. If you’re looking for a night of high energy, big ideas, and an inventive take on Shakespeare, this show delivers on all fronts.