Shrews and Sharp Wits: A Dive Into Shakespeare’s Strong Comedic Women

By Katie Neves, guest writer

This season at the Festival, we’re celebrating Shakespeare’s remarkable women. From the valiant Queens Katherine and Hermione in Henry VIII and The Winter’s Tale, to the fiery Katherina––or Kate––in The Taming of the Shrew and Much Ado About Nothing’s strong-willed Beatrice, Cedar City’s stages are showcasing the best women Shakespeare has to offer. But while Shakespeare was known for crafting unique and memorable characters, he also had a knack for recycling his ideas. Any Shakespeare buff could tell you about his favorite tropes: mistaken identities, twins, misunderstandings, and miscommunications. Even his settings repeat themselves; more than a third of his plays take place in Italy!

Shrew and Much Ado are perfect examples. They follow Shakespeare’s classic comedic structure: an A and a B story with a main and secondary couple that move the story forward, and shenanigans from buffoonish clowns. But the most remarkable similarity has to be the heroines themselves. It’s impossible to ignore the resemblance between Kate and Beatrice, the Bard’s most sharp-witted women. They may have their differences, but their shared traits and roles tell us a lot about Shakespeare’s perspective on women and their roles in society.

Relationships

One of the most obvious similarities is in the romantic relationships at the heart of these shows. They might be some of the earliest—and best—examples of the iconic “enemies to lovers” trope. From the very beginning, Beatrice voices her withering disdain for Benedick: “Signior Mountanto,” she calls him (being roughly translated as “Mr. Fancy Fighter,” mocking his abilities as a soldier). She spends the first half of the play insulting Benedick to his face (and to all his friends). Kate, too, absolutely loathes Petruchio from the get-go in Shrew (or does she?). She refuses all suitors generally, and takes a particular disliking to Petruchio and his crass, overbearing ways.

This leads to some of the most entertaining scenes in both plays. In their first scene together, Kate and Petruchio’s dizzying wordplay leaves audiences in stitches. Beatrice and Benedick, too, banter like they’re in a duel to the death. Their battles of wits are some of the best scenes in the play. In both shows, Kate and Beatrice are the cleverest people around—and it’s only Petruchio and Benedick who can match their wits.

It’s pretty clear that underneath it all, they like each other. The Festival’s directors this season––Valerie Rachelle (Shrew) and Brad Carroll (Much Ado)––have certainly taken this point of view. The chemistry between the couples is tangible right off the bat, pulling audiences into the love story right away. Kate and Petruchio this season are even played by a real-life married couple: John DiAntonio (who is also the Festival’s Artistic Director) and Caitlin Wise. Beatrice and Benedick are played by Melinda Parrett and Walter Kmiec. The romantic tension between the comedic couples this season is palpable.

Family

Shakespeare also puts both women in similar family roles. Both of them are the oldest, unmarried daughters (or niece, in Beatrice’s case) of prominent men in the community. Each of them have a younger sister (or cousin) whose relationship puts pressure on them to marry. Both women are well known in their family and community for their fiery temperaments. Still, it’s the differences here that really show off the themes of each play. While Kate and Beatrice play similar roles, the overall family dynamics stand at complete polar opposites.

Kate is rejected at every turn. Her father Baptista is desperate to marry her off; her sister Bianca is the clear favorite, and in most productions, spends her time taunting and gloating over Kate. In turn, Kate gets angrier and meaner, growing more and more defiant and truly earning her “shrew” title. Unloved and unwanted, Kate uses her sharp wit and fierce disposition to keep her family at arms’ length.

On the other hand, everyone loves Beatrice. They call her merry and pleasant-spirited; they even enjoy her quips and jabs. No shrews here! Shakespeare is showing us the outcome of two similar women in two wildly different circumstances. Beatrice is allowed to flourish, while Kate is isolated, mocked, and scolded. Is it any wonder, then, that Kate’s behavior is so outrageous? Her family would make anyone shrewish!

Temperament

Of course, Beatrice and Kate have something very obvious in common: their fiery dispositions. These women are strong-willed and stubborn. They are fierce and independent. Their quick wits and sharp tongues are endlessly funny, and they’re more intelligent than everyone around them. They both proclaim that they’ll never marry—and by the end of the plays, they’re both “tamed” one way or another.

Still, there’s some important differences here. Kate is “shrewish” through and through. Beatrice, on the other hand, is more mellow. She can be harsh and insulting, but when she hurts someone she apologizes. She has more self-control and security. Most importantly, she makes the decision to change on her own; it’s not something that’s forced on her.

In both shows, the heroines are “tamed” so they can get married. But while Kate has seemingly less choice in the matter, Beatrice is gently puppeteered by her well-meaning friends, and makes the decision to soften on her own: “Benedick, love on; I will requite thee, taming my wild heart to thy loving hand” (3.1). What’s more, Beatrice is not the only one being “tamed” in Much Ado. Benedick, too, is manipulated by his friends, and he and Beatrice come together as equals.

So What?

Why does Shakespeare revisit these themes and characters over and over again? He isn’t just recycling—he’s showing us how women are treated by society. He’s asking us, “What happens when a strong woman meets societal constraints? How does society react when women refuse to conform?” As you laugh and cheer for some of Shakespeare’s most powerful women, you’ll see how Shakespeare’s timeless commentary on how he felt about women can still resonate today.

Experience the fiery wit and complex dynamics of these unforgettable women live on stage. Whether it’s the spirited battles in The Taming of the Shrew (through September 7) or the sharp-tongued exchanges in Much Ado About Nothing (through October 5), these performances will win over any audience. Secure your seats today at bard.org or call 800-PLAYTIX and witness Shakespeare’s powerful women come alive in Cedar City.