WSJ reviews "Kiss Me, Kate" Great Performances 2025

[MezzA101]

Posted: 5/30/25 at 1:57pm

https://www.wsj.com/arts-culture/television/kiss-me-kate-review-playing-with-cole-porter-on-pbs-0ea66b0c?st=Wz2n6o&reflink=mobilewebshare_permalink

[Jeffrey Karasarides]

Posted: 5/31/25 at 7:27am

I caught it on PBS last night. As a longtime fan of director Bartlett Sher’s musical revivals, I was curious to see him take on Kiss Me, Kate. What I loved about his interpretations of South Pacific, The King & I, Fiddler on the Roof, and My Fair Lady is that on the outside, he gave them such big, lavish presentations. But on the inside, he treated the material with respect while also successfully approaching them with more modern sensibilities.

With this one in particular, it’s more of a full fledged comedy and not as weighty as what he’s taken on before. Although he still puts on this 76-year-old musical and presents it in a way that doesn’t make it feel dated at all. All of the designs are elegant with Michael Yeargan’s set being the standout. The musical numbers are a ton of fun. Everyone in the cast gives great performances, especially Stephanie J. Block.

[binau]

Posted: 5/31/25 at 9:19am

Any thoughts on how this compares to the 2019 roundabout revival? I haven't really wanted to look into it because I'm happy to keep those memories. 

[merle57]

Posted: 5/31/25 at 10:36am

Bart Sher's production of Kiss Me, Kate very successfully breathed life into a somewhat dated classic. His Lilli brought so much nuance into her conflicted feelings for Fred. The use of the revolving stage was particularly effective in highlighting the onstage-backstage conflict, especially when Lilli storms off stage after he threatens her physically in the Taming of the Shrew scene. She handled the sexism of the original well in a speech Fred addresses to the show-within-a-show audience. the gangsters were hilarious. The dancing was very strong, more modernized than the 1998 revival. I did miss Brian Stokes Mitchell's resonant singing for Fred, but liked this actor's bemused interaction with Lilli in their scenes. There was always a sense that they both still loved each other, which became obvious when Sher had her overhear his reprise of So In Love -- a very nice directorial touch. Highly enjoyable, felt like an up to date musical, not a dated operetta which Kate can often seem like. 

[BentleyB]

Posted: 5/31/25 at 4:41pm

binau said: "Any thoughts on how this compares to the 2019 roundabout revival? I haven't really wanted to look into it because I'm happy to keep those memories."

I liked this much better than the revival.   I thought the revival was like stale toast to be honest.  It felt more like a museum piece than this did.  This seamed lively and I loved the set design.  

[nativenewyorker2]

Posted: 5/31/25 at 9:59pm

Was there always a book scene/exposition before “Another Opening”? If I recall correctly, the song used to happen right after the overture 

[TheOtherOne2]

Posted: 6/1/25 at 7:01am

binau said: "Any thoughts on how this compares to the 2019 roundabout revival? I haven't really wanted to look into it because I'm happy to keep those memories."

Will Chase was a great Fred.  Adrian Dunbar was not.  That's the biggest difference, and it's one the production never quite got past in spite of many positives.  The rest of the cast was very strong, with Block's nuanced acting and Stemp's glorious dancing (the choreography was magnificent) standing out.  The set was a stunner, but it all felt a little slow.  I can't quite put my finger on the reason.   

I don't think the politically correct updates to the script benefitted either, but the 2019 production moved energetically once it got past the too-slow version of "Another Op'nin', Another Show." Perhaps it wasn't adjusted for camera as well as it could have been, but this version seemed to lack pace.

I love "Kiss Me, Kate" and am glad to have seen it, but it made me want to seek out the Brent Barrett/Rachel York video from London in 2002.

Updated On: 6/1/25 at 07:01 AM

[binau]

Posted: 6/1/25 at 7:13am

Also Kelli's vocals I thought were truly beautiful singing "So In Love" as well. 

[TheOtherOne2]

Posted: 6/1/25 at 7:33am

binau said: "Also Kelli's vocals I thought were truly beautiful singing "So In Love" as well."

Kelli is incredible.  I don't think anyone matches her vocally.  I wouldn't expect them to.  Also, that production was directed with an emphasis on the comedy and Kelli delivered on that front too.  Sher isn't really one for comedy so Block approached Lili/Kate's conflicts more seriously, which I thought she did quite well.

[bjh2114]

Posted: 6/1/25 at 7:13pm

TheOtherOne2 said: "I love "Kiss Me, Kate" and am glad to have seen it, but it made me want to seek out the Brent Barrett/Rachel York video from London in 2002."

Rachel York's version of So In Love will forever be my favorite. I love it so intensely.

[inception]

Posted: 6/2/25 at 11:50am

I watched two thirds of this last night before I had to hit the hay.  This morning I also was thinking I would like to watch the 2002 version again.  I remember seeing a performance of Too Darn Hot sometime in the distant past on PBS where the principal dancers were all Black performers. Was it that production?

I thought this production looked really gorgeous.  So many things I've seen on Bwy the last few trips to NYC had such bare bones staging in comparison.   I know it isn't really fair comparing things that started at Encores.  But Camelot certainly could have benefited from a better set.

Edit: I know people like to hate on the Music Man revival, but it is the last thing I saw on Bwy that was as good as this.

Updated On: 6/2/25 at 11:50 AM

[Papi2013]

Posted: 6/2/25 at 11:59am

The old leading man ruined it for me.  I did love the gangsters.

[inception]

Posted: 6/2/25 at 1:15pm

He is a well known TV actor in the UK - lots of detective shows.  And he has a great singing voice.

Updated On: 6/2/25 at 01:15 PM

[CATSNYrevival]

Posted: 6/2/25 at 5:26pm

I liked that they reverted back to something closer to the original opening sequence of Overture, scene, song instead of cutting the Overture like the 1999 revival that is often licensed now. I thought Stemp was exemplary and Block a delight. I don’t think Dunbar was bad simply miscast. The direction was good too. I loved that with just a simple hand gesture from Block they didn’t feel the need to use the updated lyrics for “I Am Ashamed…”