THE TAMING OF THE SHREW (AUCKLAND SHAKESPEARE IN THE PARK 2025)

Presented by an all-female-identifying cast, this fresh take on The Taming of the Shrew brings a bold new energy to the classic comedy, flipping the script on traditional gender roles, offering a hilarious and unexpected twist on the power struggles and romantic entanglements that drive the story. There are disguises, false identities, schemes and dreams but in the end, love conquers all!

Shoreside Theatre’s bold reinterpretation of The Taming of the Shrew, presented at the PumpHouse Theatre, is a refreshing and dynamic take on Shakespeare’s classic comedy. Performed by an all-female-identifying cast, the production flips traditional gender roles on their head, infusing the story with a new sense of energy and a touch of modern irony. By reclaiming a narrative that historically humiliated strong women, this adaptation delivers a performance that leans into the comedy while offering a pointed critique of outdated gender stereotypes.

At the heart of the play is the story of Baptista Minola and her two daughters, Bianca and Katherina. Bianca is the picture of sweetness, albeit a little scatterbrained, and has a queue of suitors vying for her hand. Her older sister, Katherina, is the complete opposite—fierce, sharp-tongued, and unyielding. Baptista complicates matters by decreeing that Bianca cannot marry until Katherina does. The problem? Katherina has no interest in marriage and openly declares she will never wed.

Left to Right: Katerina (Matilda Chua) and Petruchio (Heather Warne)

This creates the perfect storm of comic chaos, with suitors scrambling to find a way to marry off Katherina so they can pursue Bianca. The introduction of Petruchio, who is willing to take on the challenge of wooing Katherina, sets the stage for a whirlwind of schemes, disguises, and romantic manipulation.

One of the production’s standout achievements is its use of an all-female cast, which adds a clever layer of satire to the play’s depiction of brash masculinity. Watching women embody the exaggerated posturing and bravado of male characters is both hilarious and thought-provoking. This casting choice reframes the story’s humour, shining a spotlight on the ridiculousness of the characters’ machismo and making it more accessible to modern audiences.

The comedy lands particularly well in this adaptation, with the actors striking a perfect balance between sharp wit and physical humour. The character of Petruchio steals the show, bringing a larger-than-life presence to the stage. Their charm and confidence are captivating, evoking comparisons to the swagger of Barney Stinson from How I Met Your Mother. Petruchio’s interactions with Katherina are charged with both humour and tension, making their scenes some of the most memorable in the play.

Left to Right: Katerina (Matilda Chua), Lucentio (Āria Harrison-Sparke), Bianca (Alice Dibble) and Petruchio (Heather Warne)

Meanwhile, the rivalry among Bianca’s suitors—Lucentio, Gremio, and Hortensio—provides plenty of laughs. Their competitive antics, driven by a mix of desperation and bravado, are reminiscent of modern reality dating shows like The Bachelorette. This parallel makes the story feel surprisingly contemporary, despite its centuries-old origins.

The play is well-paced, with the first half focusing on Bianca and her admirers. This section is filled with light-hearted comedy, as the suitors go to ridiculous lengths to win her affection. The second half shifts to Katherina and her journey, which is more complex and, at times, darker. The portrayal of Katherina’s transformation—whether it is genuine or the result of manipulation and exhaustion—is thought-provoking and leaves room for interpretation.

While the production stays true to Shakespeare’s original text, some may find themselves wishing for a modern twist that reimagines the story’s conclusion. The play’s adherence to its historical narrative means that the fate of Katherina’s fiery independence is ultimately sealed, a resolution that may feel outdated to contemporary audiences. However, this choice also highlights the progress society has made since Shakespeare’s time, making the play a conversation starter about the portrayal of women in literature and theatre.

Left to Right: Bianca (Alice Dibble), Lucentio (Āria Harrison-Sparke), Petruchio (Heather Warne) and Katerina (Matilda Chua)

The PumpHouse Theatre provides an intimate setting for the production, drawing the audience into the action and enhancing the comedic timing of the performances. The minimal set design and costumes are distinct, allowing the cast to shine in their roles.

Overall, Shoreside Theatre’s The Taming of the Shrew is a delightful and thought-provoking experience. The all-female cast brings a fresh perspective to the classic play, turning its themes of love and power into a hilarious satire of gender dynamics. While the production stays faithful to its source material, its creative interpretation and dynamic performances make it a standout show.

The packed audience on opening night was a testament to the production’s success, with laughter and applause filling the theatre. Whether you’re a Shakespeare enthusiast or a newcomer to his work, this adaptation offers a thoroughly entertaining evening at the theatre.

Performances of The Taming of the Shrew run from January 22 to February 14, 2025

Tickets can be purchased here 

RICHARD III (AUCKLAND SHAKESPEARE IN THE PARK 2025)

In this adaptation, Richard III is reimagined as a gritty family gang drama set in the late 1940s, bringing Shakespeare’s tale of ambition and betrayal into the seedy, dangerous world of post-war London’s gang culture.

The Shoreside Theatre Inc. has breathed new life into Richard III, offering Auckland audiences a vibrant, modernised rendition of Shakespeare's classic tale of ambition, manipulation, and downfall. This year’s production, directed by Cath Boniface, is set in the gritty underworld of 1940s gangland London, replacing traditional English courtly attire with pinstripe suits, fedoras, and trench coats. While the timeline and aesthetic have shifted, the essence of the play—the ruthless rise and ultimate fall of Richard, Duke of Gloucester—remains intact, offering an exciting and refreshing perspective on the timeless tragedy.

Set against the backdrop of a post-Wars of the Roses England, Shakespeare’s Richard III examines the devastating cost of power at any price. Boniface’s modern interpretation cleverly parallels the political machinations of Richard’s rise with modern-day struggles for power. In this gangland version, the towers, princes, and lords of medieval England remain intact but are reimagined as gangsters, crime bosses, and underlings. While this adaptation largely keeps to the original script, it still feels relevant, with Richard’s silver tongue and unbridled ambition mirroring contemporary global political struggles.

As Boniface noted, "If you’re looking at the plot of Richard III, it’s about a man who wants to be in power at all costs but shouldn’t be in power at all." This statement resonates powerfully as the audience watches Richard weave his web of deceit, turning friends and family into enemies in his relentless pursuit of the throne. The parallels with modern leadership struggles add layers of poignancy and depth, making the production feel fresh and compelling.

Queen Elizabeth (Meg Andrews) & Richard III (Chris Raven)

The quaint, open-air PumpHouse Theatre provides the perfect setting for this immersive production. With minimal props and clever use of the venue’s natural features, including its balconies and terraced seating, the production draws the audience into Richard’s sinister world. The actors frequently break the fourth wall, engaging directly with the audience to plead their cases, seek approval, or reveal their darkest desires. These moments of connection are not only a staple of Richard III but also some of the most captivating parts of this performance, as they bring Shakespeare’s characters to life in a relatable and human way.

While the outdoor venue adds charm, it also presents challenges. The actors, unamplified by microphones, must project their voices to compete with the ambient sounds of the surrounding area—including the occasional squawking of geese. This demand adds an extra layer of skill to the performances, and the cast rises admirably to the occasion, ensuring every word is heard.

The 1940s gangland aesthetic is a bold choice that works well to modernise the play, even if it doesn't fully reimagine Shakespeare’s setting. The costumes, featuring sharp suits and period-appropriate attire, effectively situate the story in the seedy underbelly of wartime London. However, outside of the visual elements, the adaptation doesn’t push as far as it could into the gangster milieu. The structure of kings, princes, and lords is left largely unchanged, which feels like a missed opportunity to fully embrace the new timeline.

That said, there are some delightful modern touches. For example, news of events is spread via a paperboy, whose cries add authenticity to the 1940s setting. Projected visuals and slow-motion fight sequences further enhance the production, lending a cinematic quality to key moments. Supernatural elements, such as the haunting of Richard by his victims, are also cleverly portrayed using projections, adding an eerie, otherworldly feel to these scenes.

The cast delivers strong performances across the board, with the lead actor’s portrayal of Richard standing out as a highlight. While this Richard is not as physically deformed as the traditional depiction, his charm, wit, and ruthless ambition are more than enough to establish his villainy. His interactions with the audience are especially effective, drawing viewers into his schemes and making them complicit in his rise to power. This subtle manipulation mirrors Richard’s treatment of those around him, adding an extra layer of depth to the character.

Richard III (Chris Raven)

With a runtime of 2.5 hours, plus a half-hour intermission, Richard III is undeniably a long play. However, the production team does an excellent job of maintaining a swift pace. Scenes flow seamlessly, with actors exiting stage left as the next scene begins stage right. The use of multiple entry points around the venue adds to the fluidity, creating a dynamic and engaging experience.

The intermission is timed strategically, and held off as long as possible to reduce the remaining runtime after the break. While this decision helps to keep the post-intermission content brief, it does create a slight sense of rush in the final acts. Nevertheless, the overall pacing remains commendable, ensuring that the audience stays engaged throughout the evening.

Despite the long runtime, the production is full of energy and delivers plenty of laugh-out-loud moments. The cast’s passion and enthusiasm are evident in every scene, making this Richard III a fun and memorable evening out. Audience members are encouraged to come prepared for the outdoor venue—bring a cushion for the terraced seating and a jacket for the cooler evening temperatures. And should the weather take a turn, the PumpHouse Theatre has an indoor space ready to ensure the show goes on.

For those new to Shakespeare or looking for an accessible entry point, this modernised Richard III is an excellent choice. By setting the play in a recognisable and visually interesting timeline, the production succeeds in attracting younger audiences and newcomers to Shakespeare, without losing the depth and complexity that fans of the Bard expect.

The Shoreside Theatre Inc.’s Richard III is a refreshing and engaging take on Shakespeare’s classic. While the 1940s gangland setting offers an intriguing twist, the production remains faithful to the essence of the play, delivering a powerful exploration of ambition, power, and the human cost of corruption.

The performances are passionate, the pacing brisk, and the audience interaction memorable, making this an experience worth attending. Whether you’re a seasoned Shakespeare fan or a curious first-timer, this Richard III offers a thrilling night of drama, humour, and intrigue under the stars.

Performances of Richard III run from January 21 to February 15

Tickets can be purchased here
 

DRAGONKEEPER (2024)

The fate of ancient China rests on the shoulders of one young girl, who must find the last remaining dragon egg and fulfill her destiny.

Dragonkeeper is an ambitious animated feature directed by Jianping Li and Salvador Simó, adapted from Carole Wilkinson’s beloved 2003 novel. As a Spanish-Chinese co-production, the film seeks to blend cultural richness with the universal themes of courage, hope, and the eternal struggle between good and evil. While the movie offers some stunning visuals and a story with plenty of potential, certain elements, particularly the voice acting and narrative structure, hold it back from truly soaring.

Set in ancient China, Dragonkeeper follows Ping, a brave young servant girl who discovers she has a vital role in protecting the last dragons from extinction. Her journey is fraught with danger as she faces off against ruthless dragon hunters, imperial soldiers, and her own doubts. The film does a good job of highlighting the clear conflict between good and evil, which serves as a reliable backbone for the narrative.

While the themes of darkness and light are compelling and well-intentioned, the film sometimes leans too heavily into its darker moments. Scenes of dragon mutilation and peril might be too intense for younger children, making it better suited for older audiences. At the same time, the overarching message of hope and resilience shines through, ensuring that the film isn’t entirely bleak.

One of Dragonkeeper's greatest strengths is its visual design. The landscapes, inspired by Himalayan and Chinese settings, are beautifully rendered. The architecture and natural scenery are detailed and immersive, providing a rich backdrop for the story. The dragons, in particular, are animated with care, their movements and reptilian features feeling authentic and grounded.

However, while the environments and background visuals are impressive, the character designs are relatively simple and lack the same level of detail. This simplicity sometimes diminishes the emotional depth that the story is aiming for. Additionally, the film’s darker tone is reflected in its colour palette, which occasionally makes scenes appear murky and hard to follow. A touch more vibrancy or strategic lighting could have helped balance the visuals and kept viewers more engaged.

Unfortunately, the voice acting is one of the film’s weaker points. Despite featuring well-known talent like Bill Nighy, the performances come across as flat and lacking in personality. Dialogue that should be brimming with emotion often falls short, leaving key moments feeling underwhelming. The decision to dub the film into English with British accents might help broaden its audience, but it sacrifices some of the authenticity and nuance that a Mandarin version with subtitles could have delivered.

Character development, especially the relationship between Ping and the dragon, also feels somewhat rushed. Ping’s transformation from a passive observer to an active hero is essential to the story, yet it doesn’t unfold as organically as it could. Their bond, which is meant to be the heart of the film, lacks the depth and gradual growth that would make their connection truly moving. The script’s tendency to skip over key developmental moments leaves gaps that make the narrative feel disjointed.

The film’s structure is another area that could benefit from refinement. The first act, while dramatic, can be confusing due to unclear introductions and sudden time jumps. The second act feels somewhat absent, causing a noticeable gap in the story’s progression. This leaves the third act with the burden of resolving plot points that haven’t been fully established. The lack of humour or lighter moments to balance the drama also makes parts of the film feel monotonous.

However, the action sequences are well-executed and keep the plot moving forward. These scenes provide the necessary energy to maintain interest, even if the surrounding narrative falters.

Despite its flaws, Dragonkeeper remains a film with significant potential. Its gorgeous visual design and earnest storytelling suggest that the studios involved have a bright future ahead. With improvements in voice acting, clearer character development, and a more cohesive narrative, their next project could truly shine.

For audiences who appreciate animated films with darker themes and stunning visuals, Dragonkeeper offers an engaging, if imperfect, adventure. While it might not fully achieve the heights it aims for, it’s a commendable effort and a reminder that even in dark moments, there is always hope.

Dragonkeeper will be released in NZ cinemas from January 16, 2024