The Taming of the Shrew reimagined
I'm really reaching here... But I've been thinking about whether it would be possible to adapt Taming of the Shrew, without changing any of the text (or at least, altering as little of it as possible), and doing it in a way that could imply that Katherine and Petruchio had already met when they were younger and had pledged themselves to each other. Kate's already an intelligent and spirited young woman, but her nastier behavior now becomes a way for her to push away suitors until the man she really wants finally asks for her hand.
"I know her father, though I know not her; and he knew my deceased father well." = "My dad and I have met them. She was still a virgin when we parted ways."
For background, Petruchio and his father Antonio could be professional mercenaries (condottieri) who were contracted to fight in wars.
Why came I hither but to that intent?
Think you a little din can daunt mine ears?
Have I not in my time heard lions roar?
Have I not heard the sea, puff’d up with winds,
Rage like an angry boar chafed with sweat?
Have I not heard great ordnance in the field,
And heaven’s artillery thunder in the skies?
Have I not in a pitched battle heard
Loud ’larums, neighing steeds, and trumpets’ clang?
And do you tell me of a woman’s tongue,
That gives not half so great a blow to hear
As will a chestnut in a farmer’s fire?
Tush, tush! fear boys with bugs.
Antonio dies in combat, and this leaves Petruchio traumatized, angry and painfully aware of his own mortality. So, he seeks out Kate and tries to speed run their marriage, fully expecting that he himself could die the next time he goes off to fight. He's on wait period because his last mercenary contract's service period has elapsed, but he's got cause to believe that the city-state that hired him and his father's company would be renewing it soon. So, he goes about trying to check things off his bucket list, such as:
Win a bet against Hortensio
Signior Baptista, my business asketh haste,
And every day I cannot come to woo.
You knew my father well, and in him me,
Left solely heir to all his lands and goods,
Which I have bettered rather than decreas’d:
Then tell me, if I get your daughter’s love,
What dowry shall I have with her to wife?
After my death, the one half of my lands,
And in possession twenty thousand crowns.
And, for that dowry, I’ll assure her of
Her widowhood, be it that she survive me,
In all my lands and leases whatsoever.
Let specialities be therefore drawn between us,
That covenants may be kept on either hand.
As Hortensio and Lucentio woo Bianca, as Baptista negotiates with Gremio and Tranio, we can show silent glimpses of Kate and Petruchio affectionately interacting in the background (or some other part of the stage) and even eavesdropping on the conversations. Petruchio's lie about Kate still pretending to be shrewish in public would now be true. He might even be explaining to her his plan to set up the bet in the final scene. All of this is to make sure that his wife would have tons of extra cash in the event of his death. Of course, he doesn't tell her that and tries to act as normally as he possibly can.
At first, Kate, though playing hard to get as a bit of payback for the long separation, is happy to be reunited with Petruchio. But his behavior from their wedding day onwards alerts her that this is not exactly the same man she fell in love with. He's in love with Kate, but fully aware that he's now a damaged man. He wants to get married, but doubts if he could make it work in the long run (if he even survives that long). He wakes up on his wedding day, hungover. His doubts lead to his inappropriate behavior, which now becomes his way of giving Kate multiple reasons to get the marriage annulled, if she wanted to. Being surrounded by wedding guests freaks him out and he has an episode where he actually does think that they're being attacked by thieves.
In this version Petruchio wouldn't intentionally withhold food and sleep from Kate as a means of "taming" her. He's just irritable and keeps lashing out at his servants over the smallest inconveniences to himself and his bride. He gets overprotective of Kate to the point that he gets rid of any food that might cause her digestive problems and keeps rearranging the bedding to ensure maximum comfort (of course, this all backfires spectacularly). He refuses to consummate the marriage (to ensure that Kate would become a very eligible widow, should he die in combat).
He takes her up to the bridal chamber, only for her to send him back out to apologize to his servants. He's a proud man and convinced that anyone who has been on the receiving end of his outbursts would just be unwilling to forgive him. He can't bring himself to apologize in words (though he'd plot on some grand gesture that would hopefully make up for his wrongs), and so he just announces some made up bullshit about "taming methods" to use on his wife for his entire household to hear (hoping that it would at least give credence to the bet he's planning to set up to further enrich his household). Upset that he's thoroughly ruined their wedding day, he locks himself away from Kate and throws a tantrum. The concern (and the noise) keeps Kate awake all night. He's calmed down by the next day. even surprising Kate by personally making her breakfast (although for the surprise to work, he had to get Grumio to distract her, hangry as she was). Most of his terrible behavior towards Kate, the haberdasher and the tailor are just for show because his best pal Hortensio (one of the targets of the bet) decided to show up.
The "sun and moon" scene could be presented as Petruchio desperately trying to deny/ignore the passage of time so he could try to enjoy every moment he has with Kate, who realizes that playing along makes her husband more agreeable. By the time Vincentio shows up, they’re both having fun.
Husband, let’s follow to see the end of this ado.
First kiss me, Kate, and we will.
What! in the midst of the street?
What! art thou ashamed of me? :(
No, sir; God forbid; but ashamed to kiss.
Why, then, let’s home again. Come, sirrah, let’s away.
(He directs this only at Grumio, giving Kate an opening to stay behind in Padua.)
Nay, I will give thee a kiss: now pray thee, love, stay.
Is not this well? Come, my sweet Kate:
Better once than never, for never too late.
After kissing in the street (and before they show up at Bianca's wedding reception), Pet and Kat decide to consummate in a local inn (Better once than never, for never too late). This could be played for laughs, with passersby shooting scandalized looks towards the noises coming from the upper floor. However, Kate's final speech will now also imply that this gave them the opportunity to really discuss things. She now understands what her husband is going through and what she may lose.
Thy husband is thy lord, thy life, thy keeper,
Thy head, thy sovereign; one that cares for thee,
And for thy maintenance commits his body
To painful labour both by sea and land,
To watch the night in storms, the day in cold,
Whilst thou liest warm at home, secure and safe;
My idea for the ending would be Kate and Petruchio bidding the guests good night, before embracing and sharing a long kiss. The lights dim, but a spotlight remains on them. Then they part and, as the lights come on again, men show up to dress Petruchio in his armor. He begins walking away with them, before turning to share one last longing look with Kate (surrounded by her friends and family, waving goodbye to him). Her hands clasped in prayer; she gives him a reassuring smile. He's determined to come back to her, though there's no guarantee. Finally, he turns and walks away, back into battle. The lights dim again and only one spotlight remains, focused on Kate, who continues looking into the distance as she puts a hand over her womb.
This idea was inspired by what I've read about Gregory Doran's 2003 production of TotS at the RSC, as well as watching the 2005 modern version from Shakespeare Retold and my own struggles with OCD and a short temper.
Maybe this version could also work in a setting updated to WW1 or WW2 Britain?
At one point in Act IV, Petruchio asks his servants where his spaniel is? Emotional support dog, maybe? Perhaps it was accidentally left behind at home on the wedding day, contributing to Petruchio's irritability at the church... I really just want to make this guy less nasty for his wife's sake.)
A movie would probably be a better medium for making these ideas work. Since this would skip the Induction scene with Christopher Sly, I got this idea of opening with a black screen and hearing the words (also an Easter egg): "I am dead, Petruchio." Then cut to a shot of the aftermath of a battle, Petruchio (his face unseen) crying over Antonio's corpse, crushed under a horse. Fade to black. Title card. Open on a cheerful scene as Lucentio and Tranio arrive in Padua.
Alternatively, this scene could be used as a flashback on the way to Verona. Kate's horse-riding accident would trigger Petruchio's PTSD, causing him to flip out and attack Grumio as though he were an enemy soldier. He doesn't bother to help Kate back up because his mind just automatically went straight to thinking that she's dead (even more reason to rage against the world). When she goes over to defend Grumio from him, he just stares at her in disbelief. He hugs her and orders Grumio to call the rest of the servants to come over and help (which he neglects as he gets caught up gossiping with Curtis).
Petruchio should still be portrayed comically as a braggart, but with some quiet/gentle/thoughtful asides, that would fly over the audiences' heads on the first watch but become more obvious on the next viewing. It's only at the wedding that we'd get the first serious hints that he's troubled (late, hungover, avoiding crowds and rushing to get home).
I also have this idea of giving adult Petruchio an eyepatch (a necessary one, he'd literally be missing an eye in this version) which his teenaged self certainly didn't have, thus explaining why Baptista and Kate don't recognize him at first. He may also have grown a beard. Reading the first meeting with this context of a reunion (again, in need of a flashback, perhaps flashes of the two meeting and flirting as teenagers sprinkled throughout the exchange like something from a Christopher Nolan movie), Petruchio now seems like a guy thinking of ways to sweet talk his neglected girlfriend who would be understandably pissed off at his long absence. (And maybe he signals to Baptista to keep quiet about just who exactly Kate was expected to meet).
I will attend her here,
And woo her with some spirit when she comes.
Say that she rail; why, then I’ll tell her plain
She sings as sweetly as a nightingale:
Say that she frown; I’ll say she looks as clear
As morning roses newly wash’d with dew:
Say she be mute, and will not speak a word;
Then I’ll commend her volubility,
And say she uttereth piercing eloquence:
If she do bid me pack, I’ll give her thanks,
As though she bid me stay by her a week:
If she deny to wed, I’ll crave the day
When I shall ask the banns, and when be married.
But here she comes; and now, Petruchio, speak.
Good morrow, Kate; for that’s your name, I hear.
KATHERINA. (Not recognizing him yet)
Well have you heard, but something hard of hearing:
They call me Katherine that do talk of me.
PETRUCHIO.
You lie, in faith, for you are call’d plain Kate,
And bonny Kate, and sometimes Kate the curst; (She turns away in a huff, annoyed and insulted)
But, Kate, the prettiest Kate in Christendom, (She stops and perks up)
Kate of Kate Hall, my super-dainty Kate, (She starts turning towards him, recognition dawning)
For dainties are all Kates, and therefore, Kate, (She turns toward him fully, eyes wide, but smiling)
Take this of me, Kate of my consolation; (She walks over to him and holds his face upon reaching him)
Hearing thy mildness prais’d in every town,
Thy virtues spoke of, and thy beauty sounded,—
Yet not so deeply as to thee belongs,— (Sarcastic about her shrewishness but commending her fidelity, Kate chuckles)
Myself am mov’d to woo thee for my wife. (Kate looks overjoyed, looking ready to kiss him, then suddenly turns around haughtily)
KATHERINA.
Mov’d! in good time: let him that mov’d you hither
Remove you hence. I knew you at the first,
You were a moveable. (Unaware of his father's death, she could deliver these lines in a way that sounds like "Why don't you just go run off with your daddy, like you did last time? It's what you're best at, isn't it?")
(Petruchio lets this slide and continues flirting. Verbal sparring ensues.)
I also have this idea where Petruchio literally has a pet falcon that he used to send love letters to Kate. As to why they would keep their relationship a secret... I don't know, maybe Kate IS a little older than Petruchio, and he may have been just a bit too underaged at the time to confidently negotiate property and riches for his crush. But he definitely called dibs, and she was flattered and impressed enough to take him up on that. :)
