Kiss Me, Kate

Kiss Me, Kate is a cavalcade of Cole Porter classics, wrapped up in a story that has always seemed a little over-complicated to many – and the summer production at The Barbican Theatre proves that very well indeed. The fact that the overture to the piece happens about 10 minutes into the show takes a little bit of getting used to but, as the orchestra strikes up, we hear familiar refrains heralding the musical treats that are to follow.

The set is colossal, and in three sections on a huge revolve, but, as there are no tabs to disguise what is happening “off stage” we get to see scenes being prepared and some of the cast walking around, apparently aimlessly, in “the wings”. No doubt this is exactly how Bartlett Sher intended for the production to be but, to those of us used to seeing something a little more polished and discreet, it seems somewhat unusual.

The story features a play within a play as the cast of strolling players are putting on a musical production of The Taming of the Shrew. Not exactly sensitive to modern times, and definitely misogynistic, it’s very interesting to note that the only major lyric change appears in Bianca’s song “Why Can’t You Behave” and takes us from “You know baby, I’m your slave” to “Baby, it’s you I crave”.

In the play, Baptista will not allow his younger, very sought after, daughter Bianca to marry until he has found a man brave enough to make his elder daughter, Katherine, his wife. Katherine is “The Shrew” mentioned in the title and, in the dual roles of Katherine and Lilli Vanessi, Broadway star Stephanie J. Block excels. Mean and vicious as required, in no time at all Katherine is hurling flowerpots, beer tankards and anything else she can get hold of, around the stage before launching into her first big solo number, “I Hate Men”. While Miss Vanessi is not really much calmer, and takes great pleasure in being almost equally as loathsome to her former husband, and co-star, Fred Graham.

Adrian Dunbar performs as both Fred Graham and Petruchio, the man who decides that a small fortune in cash is inspiration enough to woo Katherine. This is Dunbar’s musical theatre debut and, sadly, it shows. He is lacking in the qualities needed to deliver a believable performance and struggles to shine in his solo numbers. Without questioning his TV popularity, which has no doubt helped with struggling ticket sales, there are many established leading men who would do more justice to this pivotal role.

Act one is quite laboured as we learn that Fred Graham is now wanted by gangsters after a £10,000 debt, secured by a fictitious IOU note, becomes due. The two gangsters (Hammed Animashaun and Nigel Lindsay) remain nameless throughout the production, and get the lion’s share of the comic one-liners. Their performance of “Brush Up Your Shakespeare” towards the end of act two is pure musical theatre magic, and one of the highlights of the show.

This new revival of Kiss Me, Kate does have two huge saving graces, in the form of Georgina Onuorah, as Lois Lane and Bianca, and Charlie Stemp, who takes on the roles of Lois’s boyfriend, Bill Calhoun, and Bianca’s suitor, Lucentio. They both perform well, with a lot more chemistry than the Fred and Lilli pairing, but it is Charlie Stemp’s dancing that is quite simply breathtaking!

The act two opener, “Too Darn Hot”, is a showcase for the superb choreography of Anthony Van Laast and the stamina of the whole company. Led by Stemp, together with (leading man in waiting) Jack Butterworth as Paul, the routine is exhausting to watch and a triumph for those involved. As is the totally unnecessary tap routine which seems to have been added to the production simply to allow Stemp to shine, and shine he does!

So, after a lacklustre first half, act two gives us so much more, including a “slightly more than cameo” performance by former Doctor Who, Peter Davison as Lilli’s new beau, General Harrison Howell together with yet more recognisable tunes like “Always True to You in My Fashion”.

At the curtain call the audience reaction is fairly enthusiastic, although it does seem to be more for the appreciation of Cole Porter’s superb score than for the production as a whole. There just seems to be something missing and, not good news for Trafalgar Theatre Productions, the thing that’s missing is the bit that makes you want to see the production again.

This show was reviewed on the 18th June 2024 at The Barbican Theatre, London where it runs until the 14th September 2024.  Tickets available here: Kiss Me, Kate | Spectacular Broadway Musical at Barbican 2024 (kissmekatemusical.com)

*** stars

Paul Scott

Join Paul every Wednesday from 8pm for ‘Oldies But Goodies’ here on Box Office Radio

AD/Gifted

Photo credit: Johan Persson