Review: Shakespeare Theatre Company Presents a Bold New THE TAMING OF THE SHREW

What a time for THE TAMING OF THE SHREW. It's a brave choice given its divisive, misogynistic text, but Shakespeare Theatre Company pulls it off under the bold direction of Ed Sylvanus Iskander. With an all-male cast, and featuring the contemporary pop music of Tony winner Duncan Sheik, this is Shakespeare with a decidedly modern sensibility.

Most are familiar with the premise of this comedy about the courtship of Katherina (Maulik Pancholy) - the headstrong shrew - and Petruchio (Peter Gadiot) - the suitor who tames her into an obedient bride. Pancholy, beloved for his television roles in "Weeds" and "30 Rock," is nearly unrecognizable as Katherina. His take on the character is bitter, vulnerable, and never ventures into caricature. Gadiot is well cast as Petruchio, equal parts handsome and loathsome.

Comic timing is essential in Shakespeare, and this cast is up to the task. Andre De Shields, triple-cast as Gremio/Vincentio/Curtis, is an expert at dying a slow, drawn-out death. Tom Story deftly delivers priceless lines as Hortensio, and Gregory Linington lays the physical comedy on thick as Grumio.

Our central couple, Pancholy and Gadiot delight as they exchange insults in classic Shakespearean fashion, but they're enthralling in emotional scenes, such as the beautifully choreographed (Chase Brock) "taming" set to Sheik's music in the second act.

The music itself is a smart concept, allowing characters who don't get official soliloquies a chance to speak out. Some of Sheik's songs work better than others, though, and the more contemporary lyrics can be momentarily distracting.

Bianca (Oliver Thornton) sings "On a High" and laments not being able to marry until her sister Katherina does. Thornton is appropriately sweet and charismatic, aided by costume confections that might be from the closet of Elle Woods or Sibella Hallward.

All of the costumes (Loren Shaw) are edgy, but with abundant Shakespearean references; ruffs and codpieces are anything but forgotten. A gold embellished corset helps Rick Hammerly stand out as the Contessa, and his regal voice shines in songs like "Such Reveries."

Visually, Iskander's immersive production begins as audiences first walk in, with "Piazza D'Amore," advertised as an open-air style market inside the lobbies: handmade goods are sold and costumed cast members perform and mingle. The sense of interaction and community continues into the theater, with elements of the set extending into the audience. Even the lighting design (Seth Reiser) ensures onlookers are illuminated at certain times and brought into the action. The intricate set (Jason Sherwood) is constantly in motion atop a turntable, making for seamless scene transitions. During the musical intermission/intermezzo, audience members are invited to sit onstage to witness performances of additional songs in a kind of show-within-the-show.

The cast, all male yet diverse, allows the play to transcend the classic battle-of-the-sexes subject matter and become a commentary on the commodification of human beings, as well as the story of Katherina's personal transformation. Pancholy's unsettling approach to Katherina's famous final speech is the culmination of an emotional and often unironic production. Setting the daring design decisions aside - fun though they may be - Pancholy's performance is what makes this endeavor worthwhile.

Running time: approximately 3 hours with one 30-minute intermission.

THE TAMING OF THE SHREW plays through June 26, 2016, at Shakespeare Theatre Company's Sidney Harman Hall, 610 F Street NW, Washington, DC 20004. Tickets can be purchased at shakespearetheatre.org or by calling 202-547-1122.

Photo: Oliver Thornton as Bianca and Maulik Pancholy as Katherina in Shakespeare Theatre Company's production of The Taming of the Shrew, directed by Ed Sylvanus Iskandar. Photo by Scott Suchman.

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