Displaying items by tag: Melisa Soledad Pereyra

We often forget that The Taming of the Shrew is, at its core, a play within a play - a bit of theatrical mischief in which characters watch other characters pretend. Marti Lyons’s ambitious new adaptation for Court Theatre not only remembers this but revels in it. She reframes Shakespeare’s battle-of-wills as a private, immersive experience for five elite guests - figures who could easily have wandered off the set of Succession—invited to indulge in a curated world of erotica, fantasy, and power play. This is not like any production of Shrew I have ever seen. And I love it.

Lyons taps into the erotic charge embedded in Shakespeare’s text. For Lyons the struggle between Kate and Petruchio isn’t a patriarchal lesson but a provocation - an invitation to consider what people consent to in the privacy of their desires, even when those desires run counter to their public personas. In fantasy, we try on identities we might never inhabit in daylight. Could Kate, in this telling, actually be exercising her agency by consenting to a submissive role in her intimate life while fiercely maintaining her autonomy in her public life? The question lingers.

The production openly engages with bondage, discipline, dominance, submission and S&M,  - not as taboo spectacle but as a consensual system built on trust, communication, and negotiated power. This is especially evident at Petruchio’s house.  Instead of treating Kate’s submission as Shakespeare’s dreaded moral, Lyons reframes it as a conversation about desire and embodiment. The cast leans into this with a refreshing clarity: pleasure, not punishment, drives the story. Power is a game, and everyone in the room is choosing to play.

By foregrounding the play-within-the-play structure, Lyons opens a fertile space not only to re-engage with the text but to ask ourselves uncomfortable, thrilling questions about love and control, submission and domination, agency and desire. It is rare for a Shrew to feel so sensual and so intellectually alive.

Much of the production’s force comes from its ensemble. As Katherina, Melisa Soledad Pereyra embodies fire, humor, and hunger—a woman who knows her own body and mind. Her chemistry with Jay Whittaker’s Petruchio is the engine of the evening: two equals circling, sparring, testing limits until the battle between them becomes a dance. Netta Walker’s Bianca is no docile ingénue; she claims her place with confident wit. Samuel Taylor, Nate Santana, and Dexter Zollicoffer bring sharp comedic flavor to Hortensio, Lucentio, and Gremio, while Ryder Dean McDaniel anchors Tranio with duplicitous cunning. The supporting cast - Alex Weisman, Monica West, and others - soften and sharpen the edges of the world as needed.

The design team conjures a world where erotic imagination thrives. Jackie Fox’s scenic design refashions Court Theatre into a sensuous playground of marble black-and-white tiled floors, sculpted statues, expansive botanical murals, and imposing wooden doors. Kotryna Hilko’s costumes heighten the atmosphere with daring textures - leather for Petruchio, jewel-toned gowns for the women, jacquard damask for the aristocrats - each piece balancing revelation and restraint, structure and seduction. Every visual element underscores Lyons’s central argument: desire is a kind of performance, and every performance is a negotiation of power.

This Taming of the Shrew pulses not with brute domination but with the sensual, exacting choreography of consent. Lyons doesn’t blunt the play’s jagged edges; she sharpens them into tools of erotic inquiry. Her staging invites us to feel the heat of what is given freely, the tautness of what is deliberately withheld, and the exhilaration of boundaries tested - then mutually defined.

Court Theatre’s production doesn’t simply reinterpret Shrew; it challenges us to reinterpret ourselves. By grounding the story in erotic power exchange and consciously negotiated dynamics, Lyons’s adaptation pushes us to confront the desires we rarely articulate. What do we relinquish willingly? What pleasure do we find in surrender? And what power do we claim by choosing when—and to whom—we yield? In Lyons’s hands, the theatre becomes a chamber of self-interrogation, where the line between performance and private longing thins, and we’re invited to examine the fantasies that shape us as intimately as any script.

HIGHLY RECOMMENDED

When: through Dec 14TH

Where: Court Theatre, 5535 S. Ellis Ave.

Running Time: 2 hours, 30 minutes 15 minute intermission

Tickets: $60 - $90.00 Student, Group and military discounts available

773-753-4472

www.courttheatre.org