*/
The Barbican’s annual summer musical rarely misses the mark. Directed by Bartlett Sher, and starring Adrian Dunbar (Line of Duty) and Stephanie J. Block (not known in the UK, but she is Broadway royalty), Kiss Me, Kate offers a blend of Shakespearean wit and classic Cole Porter/Broadway charm.
The story, a meta-theatrical take on The Taming of the Shrew, unfolds as a chaotic backstage comedy where real-life romantic entanglements mirror those of Shakespeare’s play. The plot revolves around two elderly, once-married actors now reluctantly reunited for a musical version of The Taming of the Shrew. Their offstage conflicts and onstage roles as Petruchio and Katherine create a dynamic interplay of art imitating life. This dual narrative is peppered with mistaken identities, slapstick comedy, and Chicago gangsters balancing their job enforcing unpaid debts with their secret love of musical theatre.
Adrian Dunbar makes a commendable transition to the stage. His portrayal of Fred Graham is commanding and humorous, showcasing his versatility as he navigates singing and acting with ease. Stephanie J. Block brings a powerful presence to Lilli Vanessi. Her vocal prowess and stage presence are standout elements of the production.
And they’re not the only musical superstars. Charlie Stemp and Georgina Onuorah, both actors who have dominated the West End stage in leading roles in their own right, deliver energetic performances as Bill Calhoun and Lois Lane. Their chemistry and comedic timing enhance the lighter, more whimsical aspects of the show. Nigel Lindsay and Peter Davison (yes, Tristan Farnon and Dr Who. Don’t worry – he doesn’t sing) provide strong supporting roles, adding depth to the ensemble. There are no lightweights anywhere in this incredibly talented cast.
Bartlett Sher’s direction brings a lavish, golden-age Hollywood feel to the production. The set design by Michael Yeargan and costume design by Catherine Zuber are stunning, evoking the glamour of mid-20th-century theatre. The use of a large turntable on the Barbican’s spacious stage allows for clever, fluid scene transitions and adds a dynamic element to the storytelling.
Anthony Van Laast’s choreography is another highlight, particularly in the show-stopping number ‘Too Darn Hot’. This ensemble piece is a whirlwind of energy and precision, with tap-led choreography that captivates the audience. The physical comedy and dance routines throughout the show are meticulous.
Cole Porter’s score remains timeless, with hits like ‘Wunderbar’, ‘So in Love’, and ‘Brush Up Your Shakespeare’ retaining their charm and wit. If you’ve never heard/seen ‘Brush Up Your Shakespeare’, go and watch the 2014 Royal Albert Hall Proms performance on YouTube. It is very clever and very funny, featuring the two gangsters singing about how to seduce women using lines from Shakespeare. (‘If your blonde won’t respond when you flatter ‘er | Tell her what Tony told Cleopatterer | If she fights when her clothes you are mussing | What are clothes? Much ado about nussing’). Okay, it might not have aged well, but you can appreciate the creative genius that went into the lyrics.
The production doesn’t shy away from the problematic gender politics of The Taming of the Shrew, instead choosing to engage with them thoughtfully. Kiss Me, Kate is a vibrant, nostalgic production that bridges the gap between its mid-20th-century origins and today’s theatrical landscape.
Daniel Barnett practises from Outer Temple Chambers and presents the legal hour on LBC Radio.
The Barbican’s annual summer musical rarely misses the mark. Directed by Bartlett Sher, and starring Adrian Dunbar (Line of Duty) and Stephanie J. Block (not known in the UK, but she is Broadway royalty), Kiss Me, Kate offers a blend of Shakespearean wit and classic Cole Porter/Broadway charm.
The story, a meta-theatrical take on The Taming of the Shrew, unfolds as a chaotic backstage comedy where real-life romantic entanglements mirror those of Shakespeare’s play. The plot revolves around two elderly, once-married actors now reluctantly reunited for a musical version of The Taming of the Shrew. Their offstage conflicts and onstage roles as Petruchio and Katherine create a dynamic interplay of art imitating life. This dual narrative is peppered with mistaken identities, slapstick comedy, and Chicago gangsters balancing their job enforcing unpaid debts with their secret love of musical theatre.
Adrian Dunbar makes a commendable transition to the stage. His portrayal of Fred Graham is commanding and humorous, showcasing his versatility as he navigates singing and acting with ease. Stephanie J. Block brings a powerful presence to Lilli Vanessi. Her vocal prowess and stage presence are standout elements of the production.
And they’re not the only musical superstars. Charlie Stemp and Georgina Onuorah, both actors who have dominated the West End stage in leading roles in their own right, deliver energetic performances as Bill Calhoun and Lois Lane. Their chemistry and comedic timing enhance the lighter, more whimsical aspects of the show. Nigel Lindsay and Peter Davison (yes, Tristan Farnon and Dr Who. Don’t worry – he doesn’t sing) provide strong supporting roles, adding depth to the ensemble. There are no lightweights anywhere in this incredibly talented cast.
Bartlett Sher’s direction brings a lavish, golden-age Hollywood feel to the production. The set design by Michael Yeargan and costume design by Catherine Zuber are stunning, evoking the glamour of mid-20th-century theatre. The use of a large turntable on the Barbican’s spacious stage allows for clever, fluid scene transitions and adds a dynamic element to the storytelling.
Anthony Van Laast’s choreography is another highlight, particularly in the show-stopping number ‘Too Darn Hot’. This ensemble piece is a whirlwind of energy and precision, with tap-led choreography that captivates the audience. The physical comedy and dance routines throughout the show are meticulous.
Cole Porter’s score remains timeless, with hits like ‘Wunderbar’, ‘So in Love’, and ‘Brush Up Your Shakespeare’ retaining their charm and wit. If you’ve never heard/seen ‘Brush Up Your Shakespeare’, go and watch the 2014 Royal Albert Hall Proms performance on YouTube. It is very clever and very funny, featuring the two gangsters singing about how to seduce women using lines from Shakespeare. (‘If your blonde won’t respond when you flatter ‘er | Tell her what Tony told Cleopatterer | If she fights when her clothes you are mussing | What are clothes? Much ado about nussing’). Okay, it might not have aged well, but you can appreciate the creative genius that went into the lyrics.
The production doesn’t shy away from the problematic gender politics of The Taming of the Shrew, instead choosing to engage with them thoughtfully. Kiss Me, Kate is a vibrant, nostalgic production that bridges the gap between its mid-20th-century origins and today’s theatrical landscape.
The Chair of the Bar reports back
Clement Cowley, Partner at The Penny Group, explains how global events can influence the performance of pensions and ISAs, and why taking a long-term approach to investing is often the most effective strategy
Mário Barroso, Head of R&D and Method Development at AlphaBiolabs, discusses what family law professionals need to know about hallucinogens, from the main hallucinogenic drugs encountered in family proceedings, to their effects and the testing options available
Harmony Christian Ministries is the latest charity to benefit from a £500 donation from AlphaBiolabs via the company’s Giving Back initiative
By David Green
Mário Barroso, Head of R&D and Method Development at AlphaBiolabs, examines the forensic science underpinning hair drug testing, its evidential scope and limitations, and why it remains the gold standard for evidencing patterns of drug use in family proceedings
Developing a tech start-up demands a different definition of excellence to the Bar, says Saara Idelbi. The co-creator of Advocatr on entrepreneurship, AI advocacy training, and matching the thrill of a killer cross-examination
At the start of her term, Chair of the Bar 2026 Kirsty Brimelow KC set out a series of priorities for the year ahead. One of those priorities was children in the justice system
As the world becomes more digital, Barbara Vinagre Mota examines international research into the mental health consequences of judges’ exposure to graphic and immersive evidence, highlighting the importance of support systems
Reviewed by Daniel Barnett
James McNeill Whistler at Tate Britain until 27 September Rothko in Florence at Palazzo Strozzi until 23 August Reviewed by Stephen Cragg KC
