Theatre Review: Kiss Me Kate, Barbican Centre - you’ll want to go again and again
Company of Kiss Me Kate. Image by Johan Persson.
⭑⭑⭑⭑⭑
The revival of Kiss Me Kate at the Barbican Centre is a dazzling success, blending the charm of Shakespeare with the exuberance of musical theatre to deliver a thoroughly enchanting experience from start to finish. Kiss Me Kate tells the story of a company of actors in 1940s America, attempting to put on a production of The Taming of the Shrew, only for the dramatics of their lives behind the scenes to begin to seep onto the stage.
The Shakespearean elements are seamlessly woven into the production, executed with precision and flair, providing a really refreshing element to the show. Whilst it is of course played for laughs - this is a comedy after all - the Shakespeare text is treated with great regard. The cast seamlessly navigates between the worlds of Shakespeare's Taming of the Shrew and the backstage antics of a 1940s musical, making each transition feel natural and engaging. The dialogue is sharp and witty, and delivered note perfectly, paying homage to the Bard while ensuring it remains accessible and entertaining.
Adrian Dunbar's performance as Fred Graham/Petruchio is nothing short of revelatory - whilst we know he has experience with the Shakespeare elements, having previously appeared in Richard III on screen, as well as King Lear on stage and Coriolanus on radio, this was his first foray into the world of musical theatre. And I have to say, if you only know him as Ted Hastings in Line of Duty, his prowess as a musical theatre performer would be most unexpected, in the absolute best way. But it’s the gentle, almost feather-light touch with the comedy that makes him stand out in this stellar cast. It’s very easy to over-egg comedic moments, to not hit the right nuance in your delivery, to do too much or not quite enough. It’s not just that he has impeccable comedic timing, but a true understanding of the way comedy is formed.
And I cannot talk about comedy in this production without talking about Nigel Lindsay and Hammed Animashaun who positively light up the stage as the gangsters, a sort of odd couple. They bounce off each other so naturally, you’d think they’d been working together for years. Something that separates a good comedic actor from a great one, is the ability to make scripted bits that you’re delivering 8 times a week, feel as though they are off the cuff and improvised for that crowd. They mastered that, and their rendition of the iconic number "Brush Up Your Shakespeare" is a show-stopping highlight that leaves the audience in stitches.
Stephanie J Block (Lilli Vanessi/Katherine) is a force to be reckoned with from the moment she steps on stage. Her extensive experience honestly speaks for itself, it is clear to see why she is a 3-time Tony Nominee and 1-time winner, and if I had to predict at this early stage, I would say she may well find that her London stage debut may also earn her a first Olivier nomination too. The comedy is perfectly placed, both the physical comedy and the spoken, the vocals are world-class, and her character work is outstanding. She is one of the greats of the craft, and it is a joy as a theatre enthusiast to see someone deliver what she does in this.
Now, choreography. Listen, this is a message to any West End producers who may be reading this thinking “What do London audiences want to see?” I am telling you, it is big dance numbers! We want more classics on stage, and the more jaw-dropping dance numbers in it, the better. And to any casting directors reading this and thinking “Okay but who are we casting in these big dance-heavy classics that require outstanding all-round performers?” may I direct your attention to Jack Butterworth? Jack Butterworth (Paul) delivers a tour de force performance in his main number “Too Darn Hot.” The vocals were smooth, reminiscent of the stage stars of the 50s and 60s, but the dancing. My god the dancing. It felt like from the moment he began, everyone sat up and leaned forward a little, not wanting to miss a beat. The rapturous applause at the end was the loudest audience reaction I’ve heard all year. His athleticism and charisma bring an electrifying vibrancy to the stage that perfectly complements the show's dynamic spirit. He is a total star.
Charlie Stemp (Bill Calhoun/Lucentio) also deserves special mention for his exceptional dancing prowess. He has established himself as the West End’s leading all-round performer. He can sing, he can act, he really can dance, and this show is a wonderful vehicle for him to show off all of those skills. Whether he's leading a big number, shining on his own during a tap break, or part of an ensemble piece, Stemp's performance is consistently outstanding. And of course, none of this would be possible without mind-blowing choreography for them to execute, and so huge congratulations has to go to Anthony Van Laast for his work choreographing this production. He’s incorporated jazz, tap, ballroom, elements of Fosse, and contemporary dance to create a total spectacle.
The set design by Michael Yeargan is a marvel, a giant of moving parts that feels like it has been lifted straight from a golden-age Hollywood movie lot. The intricate and fluid transitions between scenes add an extra layer of magic to the production, immersing the audience in a world of theatrical wonder. And I think the set sort of sums up everything I loved about this production. It is big and it is bold. It is reminiscent of a time when musicals were spectaculars, when they were extravaganzas, when they felt so much larger than life and so transported you out of yours for a while.
Kiss Me Kate is absolutely everything I want musical theatre to be. A total triumph, and if I could I’d go back again and again and again. It is an unforgettable evening of entertainment, don't miss it!
Kiss Me Kate is playing at the Barbican until September 14th, get your tickets whilst you can, available here!