An individual wearing red high heels walks across a blue surface, trailing a white bridal veil with a black bow tie left behind on the ground.
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The Taming of the Shrew

By William Shakespeare
Directed by Shana Cooper
June 5 – October 11, 2026 Allen Elizabethan Theatre

All’s fair in the war of love

Sweet-natured Bianca has her choice of suitors, but there’s a problem: she can’t get married until her older sister, Kate, also gets hitched. And Kate—strong-willed, sharp-tongued—is not onboard with any of that. When a stranger, Petruchio, comes to town, he hatches a plan to win Kate, but it’s not easy romancing an unbothered single woman who dishes out insults at lightning speed. Wordplay crackles and passions run high as this iconoclastic couple forges an unconventional path to love in this uproarious Shakespeare comedy. Directed by Shana Cooper (The Unfortunates, Indecent), this bold production turns the tables on tradition, inviting us to question everything we think we know about courtship, gender, and power.
2026 Tickets!
On sale now.
Prices start at $41

 
Suitability Suggestions
Shakespeare’s lively comedy has some sexual innuendo that is likely to be comically physicalized onstage. The play is best suited for audiences who are able to handle the sexuality inherent in Shakespeare’s text. Preface recommended.

For additional content warnings regarding violence or graphic depictions that may be upsetting to some audience members, please see our Content Warnings page (may contain spoilers).
Accessibility
The Allen Elizabethan Theatre is outfitted with an elevator for balcony seating.

The Oregon Shakespeare Festival is committed to accessibility. We recognize the needs of persons with disabilities and strive to make our facilities and productions accessible to all. Please visit our Accessibility page for details about 2025 programs and services as they develop.
Shana Cooper
Director’s Notes

I can’t think of a better play to wrestle with our current American moment than one about the ridiculousness and danger of the patriarchy. The Taming of the Shrew has always ignited passionate feelings in audiences and artists, in large part because of a debate about the author’s point of view. Is this a misogynistic play or a play about misogyny? 

Here’s what we know…

The world of Taming is one where men control the narrative: of how success is defined, about what makes a desirable woman, and—equally important—what does not. It’s a world in which women are judged and punished for not adhering to the rules of the game as dictated by a patriarchal society, in which love is a commodity, women are sold to the highest bidder, and wealth and power define what it is to be a man. And it’s a world in which anger in women is unacceptable and blamed wholly on the woman expressing it, never on the society and actions engendering it.

And in the world of Taming it is a revolutionary act to forge a path for partnership outside the traditional system. It feels meaningful to me that the most successful marriage we witness in this story is that of two people who decide to create a new way of living and loving. And those who have succeeded in the problematic status quo approach end up miserable or alone. This has to tell us something about Shakespeare’s point of view. Would a writer who is celebrating the patriarchy make the members of that club the ultimate losers of the game?

I wish we lived in a world where Taming felt dated and reflected a sexist and gendered time that we no longer inhabit. But it just doesn’t. The stakes of this play feel more raw and personal than ever before.

From the 2016 election to the #MeToo movement to the radical inequities of how the pandemic impacted people based on gender (not to mention race and class) to the recent pendulum swing that has resulted in the current political moment we inhabit, it has been revealed just how much the world of Padua is our own. 

Despite the limitations of their society, Kate and Petruchio create a unique game of life that they can play together. In this, I hear Shakespeare proposing that if the system is broken, our job is to do the radical thing of creating a new one. That process may be messy. And we will likely fail many times along the way. But if we keep at it, we might just find something miraculous on the other side.

Shana Cooper

Creative Team

Cast

* Member of Actors' Equity Association (AEA)
** AEA Professional Theatre Intern

Understudies

Allen Elizabethan seating chart.

Sponsors

  • PRODUCTION SPONSORS
  • Louise Gund
  • Judith Jesiolowski and David Thompson
  • PRODUCTION PARTNER
  • Pam Zucker

OSF's 2026 Season