Kiss Me Kate

Kiss Me, Kate is a musical with music and lyrics by Cole Porter and a book by Bella and Sam Spewack. The story involves the production of a musical version of William Shakespear's The Taming of the Shrew and the conflict on and off-stage between Fred Graham, the show's director, producer, and star, and his leading lady, his ex-wife Lilli Vanessi. A secondary romance concerns Lois Lane, the actress playing Blanca, and her gambler boyfriend, Bill, who runs afoul of some gangsters. PODS opening number ‘Another Op’nin’, Another Show’ was a cracking number led with power by Suzie Tapley as Hattie, as the company were busy with excitement for another opening. I know the show but have not seen it for quite some years, but the music led by MD Andrew Hemming quickly reminded me why, since its premier 78 years ago, it’s still very much worth staging.

The two leads Fred Graham (Matthew Owens) and Lilli Vanessi (Sue Poultney) had great strength in style, acting and voice and their scenes were convincing underling their history together. Their duet ‘Wunderbar’ reminiscing, and embrace that followed, was touching. I also liked Lili’s number ‘So In Love’ which was well sung and acted, as well as ‘I Hate Men’ later, by which time their relationship had changed

When called to rehearse, Bill Calhoun (George Organ) is missing and it transpires that he has been gambling and incurred debts of $10,000 for which he signed an IOU in the name of Fred Graham. His attractive girlfriend Lois Lane (Lois Thomson) understandably sings ‘Why Can’t You Behave?’ and again they presented good characterisations and both worked well together.  .

There were some impressive sets and set changes, not least the transformation to and from the dressing rooms of Fred and Lili. Good use was made of projections to the back wall and when accompanied by some scenery,  particularly in the final scene, provided a 3D effect. Good use was also made in creating a balcony, utilising part of the side circle seating area. The costumes were as usual of a good standard and particularly those at the ends of Act 1 and Act 2 which were quite stunning. Lighting levels were good as was the sound balance, so important.

When staging ‘The Taming of the Shrew’ the behaviour between Fred and Lilli went from bad to worse, as a result of some flowers from Fred destined for Lois accompanied by a loving message, ended up with Lilli by mistake. In the meantime, two gangsters appeared, charged with collecting the IOU that Bill signed in Fred’s name. Allan Brodie and Sam Godber handled their scenes well including when having to appear ‘on stage’ ensuring Lilli did not escape as threatened and especially during their iconic number ‘Brush Up Your Shakespeare’ - a highlight. Longing for his first daughter Katherine to wed first, Harry / Baptista was well played by David Hemming with impact and some great facial expressions.

Act 2 opened with ‘Too Darn Hot’ a sizzling number led by Loren Howland, including a bright section of dance including the Charleston. More beautiful costumes in ‘Where is the Life That Late I Led?’. ‘Always True To You In My Fashion’ was a slick number by Lois Thomson. Meanwhile Lilli has appealed to her new fiancée General Harrison Howell to save her, played with some strong characterisation by Jonathan Brotherton. He is seeking high office and wants Lilli to be his ‘first lady’. Fred insists her life by comparison will be dull and eventually Lilli reconciles with Fred, as the show, and their story ends in harmony.

There was a good variety of dancing and pleasing to see some lads that could move well, including Marcus Davis (Hortensio), Cain Groom (Gremio) and George Organ (Lucentio) as three potential suiters for Bianca in ‘Tom, Dick or Harry’ from the ‘Shrew’.  General support was also provided by Pete Hallett (Ralph) Sarah Bennett (Pops and Tom Wilson-Dowdeswell (Paul).

Despite the revied version in 1999, the show is still quite long by some modern standards and those re-writing it could have shortened some numbers, as good as they were. But I’m sure this did not impact the appreciation of the packed house. Congratulations to debut director Paul Tapley and the cast and production team, including the ‘Black Gang’ who also took a deserved bow at the end of the show.

Bruce Wyatt, Regional Representative District 10

Having missed a few recent productions by Pershore Operatic and Dramatic Society (PODS), I was very pleased to be invited to see Kiss Me Kate. Despite a recent West End revival, this show is not performed very often, so it is commendable that PODS chose to stage it.

Bruce has already covered several areas I would also comment on, and I agree with his assessment, particularly regarding the main characters, all of whom gave a convincing performance. The production was well directed, well sung, and well-acted, with ensemble numbers that were confidently delivered and well-choreographed. The band provided a solid and well-balanced musical accompaniment throughout.

Bruce has also commented on the set changes to the dressing rooms; the use of folding and opening flats was particularly effective and added to the fluidity of the staging.

It was a pleasure to meet the director, Paul Tapley, during the evening, along with Victoria Annis in her role as Producer and Andrew Hemming as Musical Director. It was also very nice to speak with PODS Lifetime President, Judy Megarry.

My congratulations go to all involved for a thoroughly enjoyable production, and I look forward to hopefully seeing Elf the Musical in December 2026.

Andy Brown, Regional Councillor NODA West Midlands

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