ST. GEORGE — In the theater world, productions are often sorted into various genres: the musicals, the comedies, the dramas; while other times they are lumped together by the playwrights or composers, such as those known for being a Stephen Sondheim, a Rodgers and Hammerstein, or something by William Shakespeare.
These lines may be blurred on occasion when a suspenseful non-musical also incorporates a lot of humor, for example. And certainly Shakespeare’s “problem plays” represent scripts that don’t quite fit into a single box. But few productions represent the kind of musical/Shakespearean/mobster mash-up one will experience at the St. George Opera House from now through March 7, as St. George Musical Theater presents Kiss Me, Kate.
Under the direction of Amber Turner, with musical direction by Paul Taylor and choreography by Nicole Hadley, Kiss Me, Kate takes the well-known Shakespearean production The Taming of the Shrew and gives it an early 20th century twist as a play-within-a-play, complete with gangsters, of-the-era politicians, cheeky dialogue, and the music of renowned American composer, Cole Porter. It’s a bit of a motley crew. Yet somehow, when you mix it all together with an enthusiastic and talented team of actors and dancers, season it with beautiful costumes, and sprinkle with smooth scene transitions and quality tech, the end product emerges as a fully baked, palatable, cohesive treat.
Undoubtedly, the casting for such a unique production is a challenging task, but Turner and her team are to be credited for assembling such a strong group. Equally challenging is the fact that this show opened under the pall of losing St. George Musical Theater Executive Producer Bruce Bennett when he was dismissed by a portion of the SGMT Board just days before the opening of this show. The reasons for his dismissal are still too vague to be satisfying for anyone but seem to surround the SGMT Board’s equally dubious decision to rename the company Dimon Legacy Theater after a former board member and major donor. The board has since back peddled a bit on this move, sharing an email Friday, Jan. 23, which it states that the new theater building, (currently under construction and set to open in fall of 2026), will be named for Dimon McFerson, but the company itself will remain under the name St. George Musical Theater. There was no retraction or update given regarding Bennett’s position.
Just how much all of this inner turmoil has impacted the ability to produce the company’s most current show is unknown, but on its second night of the run Kiss Me, Kate demonstrated a little less polish than most other SGMT shows. It is difficult not to draw conclusions that the two elements are connected.
Opening strong with an ensemble that clearly knows its way around a dance floor, the full cast sets a great tone that was carried on by the ensemble vocals and dancers from the bright and fun, “Another Opening,” to the sultry, “Too Darn Hot” and beyond. Whether dressed in their “off stage” costumes, or in their full Shakespearean garb, it was clear these actors came to play and play well.
Costume designer Staci Martin deserves particular praise for the pieces designed for the Taming of the Shrew portions of the play. The use of traditional Elizabethan patterns for the costumes, combined with bold, colorful fabrics were a delight to behold. Black and white polka dots paired with bright pinks and turquoise, or black and white stripes against oranges and blues gave each of these scenes an energetic tapestry against which to perform.
In the realm of leading actors, Taylor Williams as Fred/Petruchio and Celeste Teal Larkin as Lilli/Katherine proved to be quite a pair. In the show’s “on stage,” they must showcase one of Shakespeare’s most famous love stories as Petruchio attempts to tame the unruly Katherine. Meanwhile “behind the scenes” they are battling their own real-life past relationship as a formerly married couple whose divorce hasn’t quite settled emotionally for either of them. Their acting chemistry took a little while to warm up, but when Williams and Larkin unleashed their vocal power on “Wunderbar,” they seemed to settle into their roles.
Independently, Larkin and Williams each have supremely well-trained voices, carrying numbers like Larkin’s, “So In Love,” and Williams’ “Where Is the Life That Late I Led,” into the rafters and holding onto even the lengthiest notes with apparent ease.
Gangsters Nathan Brenner and Josh Christensen were another force with which the audience happily reckoned. Their brutish, yet bumbling attempts to extract money owed to their boss, along with their natural aptitude for the Shakespearean stage added just the right amount of comic flair. They were allowed to shine particularly brightly on the clever, “Brush Up Your Shakespeare,” number, a song whose lyrics will give any Shakespeare aficionados in the audience a little thrill.
A third pair, this time the Lois/Bianca and Bill/Lucentio combo played by Aubrey Sanders and Andy Young, respectfully, were another example of how the show and its actors grew more comfortable as the evening went on. Though neither are strangers to the SGMT stage, both Sanders and Young were vocally timid on their first number, “Why Can’t You Behave,” though their dancing was strong from the outset. However, they too warmed to their place in the spotlight and were especially fun to watch in Sanders’ rendition of “Always True to You In My Fashion,” and Young’s leading vocals on, “Too Darn Hot.”
Another area in which Sanders was able to shine was in her execution of the complicated choreography on, “Tom, Dick or Harry,” as she skillfully maneuvered on a wooden bench as it was being lifted and moved about the stage. Such movements took intense concentration and effort by all four of the people in the number, which unfortunately left the vocals by Young, Azra Jackson as Gremio, and Maxwell Petralia as Hortensio sounding a little bit labored, but still impressive overall.
Another cast standout is found in Harry/Baptista, played by Jason Buck, whose portrayal of Katherine’s and Bianca’s father in Taming of the Shrew was a perfect combination of funny and fraught.
Overall, the quality of the Shakespeare acting was strong enough as to nearly make you forget you weren’t sitting in an actual Shakespeare production. On that note, a basic understanding of The Taming of the Shrew is very helpful in appreciating the overall production of Kiss Me, Kate, though certainly not required. Happily, all that is required is a desire to be entertained and enjoy some of the high-quality community theater for which St. George Musical Theater continues to be known — under a company name the community has rallied behind and one that hopefully remains intact.
Kiss Me, Kate takes place in the St. George Opera House, 212 N. Main, St. George, through March 7. For tickets and information go online to www.sgmt.org