This was an excellent production of this recently revised Cole Porter classic. Whilst purists may object to “liberties” being taken, I felt that the show was at least as good as the original. There was plenty of life and humour, and constant but not excessive movement.
Director, Paul Longhurst delivered a very accomplished interpretation, helped by the talented cast (on and off!) he’d assembled. Lighting by Ian Fagg was complementary and accomplished throughout, and likewise the sound by Jeremy Covell. Stage Management under Ross Savage was very smooth & unobtrusive, and the Properties (Jenny Toye, Angela Terribile) wholly apposite. Wardrobe mistresses Sue Bracher and Elizabeth Elliott did a fine job in keeping everything very much in both periods, while Make-up (Sharon Jeal, Nicky Crook, Michelle Ahearne) and Hair (Frances Street-Carter and Amy Playford) were both so good as to be unnoticeable!
Musical Director, Susan Rowlinson had obviously coached her singers very well, and kept the band well-controlled on the night. Choreography by Vanessa Chambers was lively and interesting, and the whole ensemble appeared well-drilled, with good integration of movement and dance.
A fine cast was led by Lee Power as Fred Graham/Petruchio, who played the aging egotist very convincingly, with powerful and effective singing allied to his strong stage presence. Jane Hogg was a fine foil to him as Lilli Vanessi/Kate, although she could perhaps have benefited from a little more fire when in character as Kate
The secondary couple of Lois Lane/Bianca and Bill Calhoun/Lucentio was charmingly put over by Alys Dreux and Francis Radford, who both played for comedy and yet made a convincing couple. Alys’ performance was simply stunning – I couldn’t take my eyes of her when she was on stage.
David Longes led the Shakespearean action as Baptista Minolta/Harry Trevor, with a very convincing delivery, while Kevin Wood and Michael Saunders (Gremio and Hortensio) completed the trio of lovers to good effect. Kevin Stuart was excellently cast as the dictatorial General Harrison Howell, although I think I prefer the gentle humour generated by Senator Harrison Howell in the original production.
Fiona Thompson as Hattie opened Act 1 very effectively; ‘Its Too Darn Hot’ was a real showstopper as it should be and congratulations go to Jon Ford as Paul who fronted this masterpiece with artistry and panache. Colin Bousfield as Pops and Nick Rogers as Ralph also popped up with frequency and effect.
Terry Foster and Stephen Bonnet, First Man and Second Man (i.e. the Gangsters) performed very competently, but were far too low-key and naturalistic for my liking; I felt that much of the comedic potential was lost as a result.
Taken altogether, this was the best production of Kiss Me, Kate that I have yet seen, and I heartily congratulate the cast, backstage people, and production team for a very fine evening’s entertainment. Thank you!
