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...really beautiful show.” Though the show was originally conceived in Victorian England, this particular production’s styling and costume will be decidedly more Elizabethan. “Shows get taken to the present a lot, and I thought it would be fun to take a show back.” Originally, the plan was to set the production in medieval times, but anachronisms such as a vicar getting married prevented that from becoming a plausible reality...
...Facing the end of his career, he receives the story as a submission for a writing contest and decides to publish it under his own name. Benjamin, feeling betrayed by both Tabatha and Chevalier, his idol, wanders aimlessly for a while until he finally decides to take a stand...
Other songs like “Put Me Back Together” and “I Don’t Want to Let You Go” take on emotional themes in the way only the most saccharine of pop songs can. The band slows down the tempo and Cuomo sings with a whiney twinge to his voice, as if trying to emulate the style of the “Put Me Back Together” co-writers Tyson Ritter and Nick Wheeler of The All-American Rejects. “I Don’t Want...
Thus begins the actual story of “Shrew.” Bensussen manipulates this play-within-a-play trope to great success for the majority of the opening scenes. The actors take on their roles with the delightful awkwardness of children in a school play—scripts in hand, direction shouted at them mid-scene, and endearingly over-the-top line readings. Yet as the show progresses, the actors become more comfortable in their roles, and the production shifts from a clever tongue-in-cheek commentary on social performativity into a relatively normal presentation of Shakespeare?...
...production lies in the fact that Bensussen’s greatest innovation is a technique for framing the show—not for staging the show. This meta-theatricality is not enough to sustain a two-and-a-half hour production, and once the actors lose their scripts and take their roles on more fully, problems abound. The barroom décor no longer makes sense. Actor Ross Bennet Hurwitz is left in drag in the role of Bianca for the whole show, an odd move that seems to invite the audience to find gender commentaries in a production that...