But what if she won’t like to? And when when it will turn up that all he cares about are money? Beautiful and gentle Bianca’s road to happines is blocked by her big sister, Katherine. According to their father’s will she must be married first. Trouble is she already managed to estrange all men in neighbourhood. A hope appears when to Padua from Verona – town of love – comes Petrucchio. He doesn’t care about women moods, what counts is big dowry. Full of daring self-confidence he agrees to conquer the girl. Still it’s only a start of female-male duel where the price is happiness of the… third party.
William Shakespeare knew well that love is no laughing matter. Still before he wrote famous tragedy "Romeo and Juliet", there had appeared "The Taming of the Shrew" – one of his yearly works. Though the text apparently seems light and trivial, its humour entail many truths that during many years were the inspiration of film artists (Petrucchio’s part was also played by Richard Burton, John Cleese or Heath Ledger) and theatre directors (Zygmunt Hübner or Krzysztof Warlikowski). Tadeusz Bradecki’s production moves audience to sunny Italy, skilfully juggling with clichés and stereotypes of Italian lovers.
No one suspected that [director] will risk theatre equal right for ambitious classic fans serving them comedy from the end of 16th century and to entertainment lovers instead of Cooney giving this time Shakespeare. English farce? Italian comedy dell’arte? Bradecki seems to winks at audience and shouts: here you are! He moves action to sunny Padua in late 50’ and early 60’ where in the streets one hums Mariono Marini hits. Among funny stage design elements somewhere between reborn Botticello’s Venus and leaning tower of Pisa Signore Minola puts on an apron and opens his coffee house. In a while Italian coffee scent will be smelt…
[Audience watch] Italians like out of Fellini’s films, scooters from "Roman Holiday", mafiosos from "The Godfather". And Urszula Kenar’s stage design weaved with turist stereotypes of Italia: on the right Rome Bocca dell Verità, on the left leaning tower of Pisa, as a background Galleria degly Uffizi gem or Botticelli’s "Birth of Venus". Slight squint in goddess eyes at once gives a sign that the performance won’t be a very serious one, that there is a stage joke, weaved with conventions and popculture quotations. […] Katowice performance is still greatly played! Really greatly! Within a scope of created by director convention actors play brilliantly, creating different gutsy characters.