Phyllida Lloyd’s production of The Taming of the Shrew used only female actors. It took the early modern practice of casting only men and turned it on its head, creating new dynamics in this play with such contentious views of women.
These photographs show Kathryn Hunter as Katherina and Janet McTeer as Petruchio, performing at Shakespeare’s Globe in London in 2003.
What did reviewers say?
I feared a dour, stridently feminist staging, heavily underlining the fact that all men are bastards. I should have known better. Phyllida Lloyd is a director with an infectious sense of fun, and the mere fact that all the men here are played by women highlights the absurdities of the male of the species.
But … the staging leaves no doubt that the Shrew is also a fine romance. McTeer is a delightfully dashing, disconcertingly sexy Petruchio, while Hunter beautifully captures Kate's misery as a neglected spinster daughter … Nothing else on stage can compete with the gender-bending sexual chemistry between these superbly matched lovers.
In 2016, Lloyd’s all-female production was revived for the ‘Free Shakespeare in the Park’ festival at the Delacorte Theater in Central Park, New York City.
- Full title:
- Photographs of Kathryn Hunter and Janet McTeer in The Taming of the Shrew directed by Phyllida Lloyd at Shakespeare's Globe, London, 2003
- 21 August 2003, London
- Photograph / Image
- Donald Cooper [photographer]
- Usage terms
© Donald Cooper / Photostage
- Held by
- Photostage image ID: 00012262 and 00012261
- Article by:
- Emma Smith
- Comedies, Gender, sexuality, courtship and marriage
Emma Smith explores how clothing complicates ideas about gender and social status in The Taming of the Shrew.
- Article by:
- Rachel De Wachter
- Comedies, Power, politics and religion, Gender, sexuality, courtship and marriage
Does The Taming of the Shrew advocate sexual inequality or does it show and critique men’s attempts to subordinate women? Rachel De Wachter discusses how we should think about relations between the sexes in the play, and examines how writers, directors and actors have explored this question over the past four centuries.