Chicago Tribune - Somewhat Recommended
"...Frankly, Rourke and her cast (arrayed on a beautiful, shutter-clad Italianate design from Lucy Osborne) solve many of the usual “Shrew” problems inside the actual play. They do so by making the men sufficiently ridiculous to have no real bite; by making Amato's Kate beautiful and intelligent and witty enough to better them all and imply that every man there knows it from Day One; and by offering rich and clear takes on the language."
Chicago Reader - Somewhat Recommended
"...Though her act of subversion has been cunningly strategized--the new scenes confronting the alleged sexism of Shakespeare's comedy are by Neil LaBute, who's risen to fame on charges of sexism and misogyny--and bravely executed, it's ultimately tedious and essentially wrongheaded. At the risk of opening a can of worms in a very small space, this play isn't about a woman's subjugation. It's about a woman who gets a crash course in gaming the system for fun, profit, and love."
Windy City Times - Somewhat Recommended
"...Ian Bedford and Bianca Amato's Pete and Kate salvage an astonishing measure of dignity despite their looney-tunes universe ( even as Mary Beth Fisher's faux director forfeits hers with every whining spousal entreaty ) , flanked by a team of seasoned troupers—among them, the venerable Mike Nussbaum, still well-shaped in tights—displaying the clearest enunciation ever heard on the ChicagoShakes stage. And if discerning ears in the "invited audience" detect occasional stumbles or slow spots ( that old incognito-suitor gag gets quickly tedious ) —well, isn't that to be expected at what real-life director Josie Rourke's conceit proclaims to be only a practice session?"
Copley News Service - Recommended
"...The CST “Taming of the Shrew” isn’t exactly a disappointment, but the audience had been primed for something special from the union of Rourke, LaBute, and Shakespeare. They have combined for an entertaining evening, but as a breakthrough concept, the production doesn’t quite deliver."
Centerstage - Recommended
"...This production's sole flaw lies in a series of interpolated scenes by playwright Neil LaBute. Replacing the Shakespearean frame story, these depict a cast and crew putting the finishing touches on their own version of "Shrew," a la "Kiss Me Kate." Meant to reflect on the play's issues of gender and relationship, the rehearsal scenes are cleverly written and sometimes funny, but their net result is to cast a pall of nervous unhappiness over the whole play. A low point is a lengthy monologue, delivered by the 'Director' (the otherwise spot-on Mary Beth Fisher)."
Chicago Stage Review - Highly Recommended
"...Even if you hate the new frame, and I love Neil LaBute’s Induction, the Shakespearean meat of this production of The Taming of the Shrew is a glorious rendering of this controversial play. It serves as much more than a historically contextualized warning to Elizabeth I against the machinations of power-mad suitors; The Chicago Shakespeare Theatre’s unflinchingly raw and unerringly polished production of The Taming of the Shrew is a cautionary tale to anyone who might be so blinded by love or disdain that they cannot recognize when they are being played, their heartstrings cunningly plucked by a master manipulator. DO NOT MISS this gorgeous, lavish, resolute production."
Time Out Chicago - Recommended
"...
there’s much to like in CST’s latest play-within-a-play, which benefits from Rourke’s skilled direction and top-notch physical comedy. Lucy Osborne pulls impressive double duty with set and costumes, using myriad doors, balconies, Uggs and codpieces. Brian Sills’s servant Tranio is a gift, and Amato gives Kate a rueful dignity. By all means, see this glorious ensemble’s work. But don’t look for meaning in the contemporary scaffolding. “Fuck this!” is neither a thesis nor a revelation. It’s a weak response to the joke played on women for ages: Their tragedy is men’s comedy."
ChicagoCritic - Not Recommended
"...Question of the evening: why did anyone feel it was necessary for LaBute to create the frame? The explanation offered in the program book makes reference to Shakespeare’s original introduction dealing with a character named Christopher Sly – noting that this introduction – which adds nothing to the play — is most often cut. They should follow suit."
Chicago Stage and Screen - Recommended
"...The star studded cast includes Sean Fortunato, Erik Hellman and Mike Nussbaum as the suitors for the hand of Bianca. All three of these actors handle the language and comic touches as the Bard would have wanted it done. Nussbaum is always a treat to watch in any role and Fortunato has proven he can do anything on stage and do it well. I am not so sure how the Bard would respond to the extra sub-scenes and storyline, but I would think he could have handled a good laugh or two."
Chicago Theater Beat - Somewhat Recommended
"...It’s always a pleasure to see Mike Nussbaum, and he’s in fine, funny form as Bianca’s rich and wizened old suitor. Other highlights include Sean Fortunato’s wry Hortensio, another suitor; Larry Yando’s aggravated Baptista, the sisters’ father; and Stephen Ouimette and Alex Goodrich as comic servants."
NewCity Chicago - Somewhat Recommended
"...Rourke clearly takes the one-dimensional view that the Bard’s purpose is merely to remind us that a good wife is a submissive wife, end of story. Doing the play means being a Shakespearian enabler in getting across his male-chauvinist message. As such, the decision is made to replace the often omitted play-within-a-play device of the original and transplant it with a modern-day framing scenario—complete with snappy dialogue supplied by playwright Neil LaBute—of a cast and crew putting on the play, at Chicago Shakespeare Theater, no less, and of objecting to the sexist message that they are asked to get across via the play."
