Review by Markus Hamence – Adelaide University Theatre Guild’s The Taming Of The Shrew. Performance date: Friday 08 May 2026. Little Theatre, Adelaide University, South Australia.
I love my time in the intimate and comfortable ‘Little Theatre‘ at Adelaide Uni, and, there is something deliciously rebellious about watching Shakespeare performed by young (and some more mature) artists who are unafraid to challenge the dust that can sometimes settle over his work, and Adelaide University Theatre Guild delivers exactly that with its bold and energetic production of The Taming of the Shrew. This is not a version interested in playing politely with tradition. Instead, it tears into the material with sharp wit, physical comedy and a full-blown 1990s aesthetic that transforms the production into a loud, playful and sharply contemporary theatrical experience.
Director, Olivia Jane Parker, knows her stuff and has served this great slice of work. From the opening moments, the audience is thrown into a world fuelled by 90s nostalgia, with a soundtrack packed with recognisable pop, rock and dance influences that inject the show with attitude and momentum. The music becomes its own cameo character within the production, heightening both the comedy and emotional tension while giving the Shakespearean text an unexpectedly fresh pulse. Combined with the fashion choices – oversized denim, grunge-inspired layers, beanies, colourful streetwear and slick nods to iconic music posters of the era – the production feels like Shakespeare collided headfirst with a late-night MTV countdown at times, and I freaking loved it.
“…the production feels like Shakespeare collided headfirst with a late-night MTV countdown at times, and I freaking loved it!”
Markus Hamence
The ensemble attacks the text with confidence and insane script retention (I only counted three minor slip-ups, which is impressive with the momentous dialogue required to be delivered), finding rhythm in Shakespeare’s language while never allowing it to feel inaccessible or museum-like. The humour lands hard, often unexpectedly, with the audience responding loudly to the rapid-fire exchanges, exaggerated character work and moments of perfectly timed absurdity. Yet beneath the comedy sits a more thoughtful undercurrent, one that wrestles with the play’s themes of power, performance, gender and control without becoming heavy-handed.
“Yet beneath the comedy sits a more thoughtful undercurrent, one that wrestles with the play’s themes of power, performance, gender and control without becoming heavy-handed.”
Markus Hamence
The chemistry between the leads becomes the production’s driving force. Rather than presenting a simplistic battle of the sexes, this interpretation finds something more layered and psychologically interesting. The relationship between Katherine (Heather Crawford) and Petruchio (Tom Tassone) simmers with tension, intelligence and unpredictability, creating scenes that feel dangerous one moment and wildly funny the next. Their verbal sparring becomes less about domination and more about survival, identity and two people refusing to be outmatched.
The entire cast are well-versed and have learnt their respective characters well. When not delivering dialogue, they hold their roles impeccably. Credit to them for this, very fine work.
The full cast:
Heather Crawford – Katherine
Jessica Merrick – Bianca
Tom Tassone – Petruchio
John Charles – Tranio
Martin Penhale – Gremio
Deborah Walsh – Minola Baptista
Ben Proeve – Lucentio / Cambio
Rodney Hrvatin – Grumio / Violinist
Inkie Elliot-Potter – Bindello
Hannah Hyde – Curtis / Bass Player
Ben Hewson – Nathaniel / The Merchant / Player
Rhys Young – The Tailor / Clarinet Player
Macey Lawson – Hortensio / Litio / Widow
Leah Lowe – Nicholas / Vincentia / Triangle Player
Visually, the production thrives on inventive staging and strong ensemble movement. The 90s styling is woven deeply into the show’s identity, creating a vibrant theatrical playground that feels nostalgic without slipping into parody. Costuming (Sue Cayzer) cleverly balances Shakespearean structure with rebellious youth culture (The white ‘boy band’ out-fits, EVERYTHING), reinforcing the idea that these themes of status, image and social expectation are timeless. There is an infectious sense of youthful creative ambition throughout the entire production, the kind that makes live theatre feel thrillingly immediate.
What makes this production particularly compelling is that it never pretends The Taming of the Shrew is an easy play. Instead, the company leans heavily and directly into its discomforts and contradictions. The result is a version that sparks conversation long after the exit of the homely theatre. Some audience members may laugh at the outrageous comedy, others may leave debating its politics, but that tension is precisely what gives the production its electricity. Excellent, art should provoke.
Adelaide University Theatre Guild once again proves why it remains one of Adelaide’s most exciting spaces for emerging theatrical talent. This production is fearless, funny, provocative and dripping in 90s cool – Shakespeare reimagined not as a relic, but as living, breathing theatre with a grunge-era heartbeat.
The Taming of the Shrew
Friday 8 May 2026 – Sunday 17 May 2026
Little Theatre, Adelaide University, The Cloisters, Adelaide SA 5005
Tickets
Production Photography credit: Maggie Morris, The Multimedia Emporium
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