A shrewd take on Cyprus’ battle of the sexes

At 11 points below the EU average, Cyprus is still struggling with gender equality. ALIX NORMAN reports on a production that challenges the status quo

Cyprus scores a measly 57 out of 100 on the EU Gender Equality Index. Yes, 10 years ago we experienced a slight improvement. But in 2018, the island dropped another place, down to seventh from last.

Unsurprisingly, the Nordic countries did the best: Sweden and Denmark top the ranks with 84 and 78. Greece on the other hand, falls dead last with 52. Clearly, we have a long way to go in this part of the world. Perhaps this year’s Shakespeare at Curium has a lesson for the powers that be? Director Penny Cook certainly thinks there might be something intriguing to the upcoming production…

“On the surface, The Taming of the Shrew is seen as one of the most problematic of Shakespeare’s comedies in terms of gender equality,” she suggests. “But take a deeper look, and you’ll find your assumptions turned on their heads…

“Shakespeare knew women,” she reveals. “He admired them. He wrote them well, encapsulating female attributes that were rarely celebrated at the time – education, intelligence, wit. At a time when women were considered second-class citizens, the Bard was subverting audience expectations by creating richly dimensional female characters. He was, I believe, ahead of his time.”

Superficially, The Taming of The Shrew is a story of male dominance. The main character, Katherina (the ‘Shrew’) is gaslit, emotionally abused and deprived of food and sleep by her suitor Petruchio. “But intelligent readers can see beyond the obvious,” Penny reveals. “As Petruchio believes he’s taming Katherina, she’s actually taming him!”

These two strong-willed characters initially clash. Witty words fly thick and fast, reminiscent of the banter between Beatrice and Benedict in Much Ado About Nothing. ‘Asses are made to bear, and so are you,’ snaps Katherine. “Women are made to bear, and so are you!” Petruchio re-joins.

“But as time passes, the protagonists knock off each other’s rough corners,” says Penny. “Neither were particularly nice people to begin with, even in their interactions with others. But through their battle of wits, both become more mature, more aware of how they can harm or help the people in their lives.

“You have to remember,” she adds, “that the Elizabethan era was not a great time to be female. And Katherina, all fire and brimstone, is a woman out of her time. Unlike her younger sister, Bianca, she challenges everything from the diktats of her father (who declares Katherina must first be wed before Bianca can tie the knot; a trial for both sisters) to the edicts of the only man bold enough to woo her.”

At least money isn’t an issue. Unlike today’s world, where wages are often a point of contention (Cyprus’ Commissioner for Gender Equality has gone on record stating that, for every euro earned by men, women earn 87 cents), Katherina is heir to a substantial fortune.

“She has no need to work,” says Penny. “Her dowry is so considerable that many a suitor has pursued her for the money. But where each gave up, foiled by her acerbic tongue, Petruchio perseveres. He is, in his own right, a rich man. What he’s after are bragging rights. He wants to be the one man who can tame the shrew…

“At first, he sees it as a game: he intends to subdue Katherina’s wild ways. And yet, as the play progresses, we see him falling for her clever wiles. In Katherina, he finds a spirit that matches his own, and discovers that an unequal wife is not what he really wants. Unlike many of the other male characters, he doesn’t relish female inequality. He wants a woman with gumption. Someone who can be his absolute equal.”

With its host of ingenious sub-plots and supporting characters, The Taming of the Shrew is a truly comedic play. Bianca’s suitors, Gremio and Hortensio, devise comical schemes to outwit each other and win the affections of their paramour. A tinker in the throes of a drunken stupor is persuaded that he’s actually a nobleman. Mistaken identities, role-playing and humorous misunderstandings add to the amusement. And yet, despite the farcical nature of much of the play, the plot remains relevant even today.

“Shakespeare wrote cracking good stories,” says Penny. “Stories that have resonated for centuries with people and cultures around the world. You see the audience at Curium: they’re from Russia, from China, from Israel. They’re all hooked, all hanging on every word.

“This is theatre that transcends language. And in The Taming of the Shrew, we have an age-old of story of man versus woman that everyone will understand,” says Penny. “A story that everyone will enjoy. Because, ultimately, Katherina and Petruchio both realise they need each other – that they function better as a team than as separate souls.”

After centuries of inequality, isn’t that what we now know a healthy relationship should be: a partnership where both sexes support each other through thick and thin?

“When Katherina gives her well-known ‘Speech’ at the end of the play, she’s essentially empowering women,” says Penny. “This is a character who’s shrewdly challenged patriarchal society from within, advocating not for subservience but rather for using one’s intelligence to attain equality.

“The power of her words is timeless,” Penny adds. “They may have been written nearly 500 years ago, but they’re just as relevant today. And the plot, brought to life by a superb cast and excellent crew, will resonate with audiences from every background.

“Yes, we’re here to entertain,” she concludes. “And as the Shakespeare at Curium is now in its 61^st year, we must be doing something right! But there’s also food for thought in these age-old lines. Gender inequality is as rife now as it was in Shakespeare’s time. In Katherina, our titular shrew, we see a woman who has worked skilfully within the system to overturn injustice. Perhaps, even today, we can learn from her methods!”

The annual Shakespeare at Curium is presented by Performing Arts for Cyprus Charities on June 22, 23 and 24. Tickets are available from Sold Out Tickets and Stephanis at cost of €20 per adult and €10 for under 13s, and on the door at a cost of €25 per adult and €12 euros for under 13s. For more information visit www.shakespeareatcurium.com