THEATRE REVIEW: Kiss Me, Kate at the Crucible, Sheffield

Kiss Me Kate is the Crucible's big winter show. But should you cosy up to it or give it a wide berth?

FIERCELY acted, beautifully danced, stirringly sung and spectacularly staged, the Crucible’s Kiss Me, Kate is one Christmas cracker with loads of bang for your buck. 

It seemed apt that Bjorn Again were playing the O2 Academy across the road last Thursday night, given the ex-Broadway musical’s focus on marital mayhem (ABBA having played on for years despite their own in-house strife).

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This a colourful production full of energy, athleticism and flair, focusing on a fictional staging of Shakespeare’s The Taming of the Shrew.

At its heart are two totemic performances by Rebecca Lock and Edward Baker-Duty as the bickering, recently-divorced but still-devoted actress and actor-director couple Lilli and Fred, respectively playing Katharine and Petruchio.

Their victory is in making two fundamentally unappealing characters — they trade blows verbally and physically — so watchable.

Their stage chemistry is palpable and both also put in top-class vocal work, Baker-Duty taking on much of the heavy lifting narrative-wise and Lock stealing scene after scene with her versatility, ranging from a veritable snarl to an operatic flourish.

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The (proverbial) curtain raises as the company prepares for “Another Op’nin’ of another show” as the vibrantly choreographed, strongly-sung overture has it.

Strictly has spoiled us so that, when it comes to group dance, it’s easy to underestimate the skill involved in coordinating up to two dozen players, but Kiss Me, Kate is blessed with several routines which complement and frame the developing plot. Top marks to choreographer Matt Flint.

Supporting players are given their chance to shine, not least Dex Lee as charismatic, flawed Bill and Amy Ellen Richardson as head-turning, ever-expedient starlet Lois.

The first act is somewhat short on show-stoppers, Cole Porter’s songs generally driving the narrative rather than standing on their own (with the possible exception of Freddie's devilish I’ve Come to Wive It Weathily in Padua).

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After the break, however, Layton Williams’ Too Darn Hot, while the pick of the bunch has to be Brush Up on Your Shakespeare, a masterclass in wordplay worthy of the Bard himself and brought brilliantly to life by gleeful gangsters Delroy Atkinson and Joel Montague.

As with the best musicals, Kiss Me, Kate has you under its spell as both an ensemble piece and a showcase for talented individuals.

By turns as riotous as panto, graceful as ballet and heart-warming as rom-com, take my advice and make a date with Kiss Me, Kate.

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