Review: THE TAMING OF THE SHREW at Istanbul State Theatre

When it comes to Shakespeare, I have always enjoyed watching a production first and then reading the play itself. It always seemed to me that Shakespeare is much more about being said, not read. Thus, I seem to enjoy reading his plays way too much after seeing an interpretation. I did the same with all the Shakespeare plays after realizing I prefer watching, and then reading... Except for one... The Taming of the Shrew. The reason was that we simply hadn't had a Shrew production for years, so I had to read it before seeing it. I can't say I was very fond of it considering what is done to Kate (will be detailed below) and how so many productions interpreted Kate and Petruchio's relationship as a love story. But, then I found out about 2008 Royal Shakespeare Company production. That. Was. It. Critics hated it, people left the theatre because it was too painful to watch but I found myself obsessed with this dark interpretation. The rawness, the detailed study of abuse thrilled me and I thought "This is right because this is what this play really is.". It might be, of course, because of where I live. The play is considered as one of the non-political Shakespeare plays whereas it is quite political for our country considering the rates of violence against women. So when I saw Istanbul State Theatre was going to stage it I got very excited and was very curious about what Yucel Erten's take was going to be like.

The foreplay is absent in this production which means we do not meet Sly, we are directly introduced to Petruchio. Both the director and the dramaturg Mr. Erten decided to concentrate on "the play", omitting the other play that surrounds the story.

You know how the story goes, Bianca and Kate are sisters, one of them known for her beauty and charm and the other known for her "Shrewness". Everyone is scared of Kate, and no one wants to marry her. However, Bianca cannot get married before her big sister gets married. So... In comes Petruchio, a man who simply wants money and claims that he is the one to "tame" Kate. He convinces Battista to give away his daughter. They get married in no time. Meanwhile, Bianca's suitors compete for her affections, and her hand for marriage.

During "the taming process", Petruchio follows the "killing with kindness method", he denies Kate of food and sleep, suggesting that nothing is worthy of her. He says the the food is not good enough, the bed is not comfortable enough.

Table and bed are two important spots as they are the two central locations of marriage: the sites of greatest intimacy and greatest risk. It is important to note that spouse murders generally happen in these two locations. Here, these two spots are where Kate's soul is destroyed slowly. And she finally gives in during the sun and the moon monologue and it is, then, made offical in front of everyone when she starts her last monologue where she proves she has become an obedient wife. (Interpretations differ, of course)

After mentioning the plot of the play, let's go back to the word "Shrew". Shrews are women that talk too much or too loudly or too crossly "for a women". And according to the ballads from the years when Shakespeare was alive, Shrews were violent against their husbands, would see them inefficient, denied them of sex etc. In those days beating women was common, there were no laws against it. An action would only be taken if the neighbors were disturbed or the mentioned wife was killed by her husband. - You can see why I cannot see a way to interpret this as a love story, and was interested by what RSC did back in 2008.

Mr. Erten is no naïve as well: I feel he sees the play as a story of abuse. He is quite aware of the elements, that is why he lets his Petruchio, Hakan Mericliler, rule the stage, use every single spot, own it. He lets him be funny, lets him get away with his behavior and pushes the audience to laugh with him. Meanwhile his Kate, Veda Yurtsever, enters with the same energy as Petruchio, owning the stage while tormenting Bianca, using the entire space. However, in the following scenes, she only uses the spaces where she is led by Petruchio. The only time she uses the entire space once again is her last monologue.

Yes, since we have come to that, let's talk about - that. In my eyes, this play is about killing the spirit of a woman, turning her into a tool: it is simply a man's fantasy and it has to be interpreted that way. In my opinion, what Michelle Gomez did back in 2008 was one of the top interpretations: her soul was taken away from her, she was nothing but flesh after what Petruchio did to her. People say they found it too painful to watch? It has to be too painful to watch (Not to mention all the critics reviewed this play using this sentence were men). But for those who prefer another version, I'll give you Veda Yurtsever's. She slowly comes down the stairs uttering the lines, and the audience simply thinks "yes, she is tamed now, all is well". But near the end of the monologue her actions get pretty strange and she opens her sleeves to reveal the cuts on her both wrists. The interpretation turns her into a heroic figure and I cannot begin to tell you how much I loved it. That is what I call a martyr.

It is also very Brechtarian to have a twist like that and shove it up to the audience's face "See? This is what you have been laughing at. This is what you have been watching.". The aim is quite wise and mind blowing even. I saw the purpose but do I think the production manages to achieve the effect it desires to achieve? No. The supposedly funny bits are never really that funny and the dramatic bits are never that dramatic. And when that happens all we could see is good ideas that are not conveyed well.

State Theatre is generally not a place to make political satire but Mr. Erten has inserted some lines that are directed to the government. Even if it seems quite courageous, and enjoyable from time to time, they get so repetitive after some point that the audience starts whispering enough. The jokes get quite cheap after some time, and one finds herself think "Was this really necessary?".

Another issue is the duration. The play is 150 minutes long. It is too long for a Shrew that does not have the foreplay. There is an intermission but the audience loses interest inevitably.

State Theatre's Shrew might have its troubles but I am glad we are on the same page in some key issues. And I am so very happy to have witnessed that finale. It is a dramaturgical move that I will talk about for a very long time.

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