The Shrew's Legacy: When Sisterhood Meets Marriage in Modern Theater
There’s something undeniably captivating about a play that dares to revisit Shakespeare’s The Taming of the Shrew in the 21st century. Personally, I think it’s a bold move—one that immediately sparks curiosity. Why? Because The Shrew is a minefield of modern controversies, from its portrayal of gender dynamics to its questionable treatment of female agency. So, when I heard about Laura Lapidus’ To Have and To Hold, an Off-Broadway production that uses The Shrew as a lens to explore sisterhood, grief, and identity, I was intrigued. What makes this particularly fascinating is how Lapidus flips the script, turning Kate—traditionally the ‘tamed’ character—into a modern woman grappling with her own stubborn ideals.
Sisterhood in the Shadow of Shakespeare
One thing that immediately stands out is the play’s focus on the relationship between Kate and Bianca. In Shakespeare’s original, Bianca is the ‘prize’ and Kate the obstacle. But here, Bianca is Kate’s sister and best friend—a dynamic that feels both intimate and fraught. What many people don’t realize is how often sisterhood is overshadowed by romantic relationships in literature and theater. Lapidus’ choice to center this bond is refreshing, especially when it’s complicated by Bianca’s engagement. If you take a step back and think about it, this isn’t just about marriage; it’s about the fear of losing someone to a life that no longer includes you. That’s a universal anxiety, and it’s one that Lapidus seems to explore with depth and nuance.
The Patriarchy and the Modern Woman
Kate’s refusal to ‘bow to the patriarchy’ by getting married is a stance that feels both empowering and fragile. In my opinion, this is where the play’s commentary on modern feminism shines. Kate’s identity is so tied to her defiance of traditional gender roles that Bianca’s engagement forces her to confront her own rigidity. What this really suggests is that feminism isn’t just about rejecting societal norms—it’s about questioning why those norms feel so defining in the first place. A detail that I find especially interesting is how Lapidus, who also stars as Kate, describes her character as ‘afraid of letting go.’ That fear isn’t just about marriage; it’s about losing the self you’ve built in opposition to the world.
Grief, Growth, and the Theater of Identity
The play’s exploration of grief is another layer that adds complexity. Kate isn’t just losing her sister to marriage; she’s losing the version of Bianca she’s always known. This raises a deeper question: Can we grow alongside the people we love, or do we inevitably grow apart? From my perspective, this is where the play’s Shakespearean roots become most relevant. The Shrew is often criticized for its portrayal of Kate’s ‘taming,’ but Lapidus seems to use that framework to ask whether personal growth requires ‘taming’ at all. What makes this particularly fascinating is how the play blurs the line between Kate’s stubbornness and her strength. Is she growing, or is she just compromising? That ambiguity is what makes theater so powerful.
Behind the Scenes: A Production to Watch
While the story itself is compelling, the production team behind To Have and To Hold is equally noteworthy. With Zoë Adams directing and a design team that includes Se Oh (scenic), Mieka van der Ploeg (costumes), and Yang Yu (lighting), the play promises to be visually stunning. Personally, I’m most excited to see how the design elements complement Lapidus’ script. Theater, after all, is a collaborative art form, and the success of a production often hinges on how well the creative team works together. What this really suggests is that the play’s themes of connection and transformation will be reflected not just in the story, but in every aspect of the production.
Why This Play Matters Now
In a cultural moment where conversations about gender, identity, and relationships are more nuanced than ever, To Have and To Hold feels timely. What many people don’t realize is how rare it is for a play to tackle these issues without resorting to easy answers. Lapidus doesn’t give us a neatly resolved narrative; she gives us a messy, human story. If you take a step back and think about it, that’s exactly what we need more of in theater—and in life. The play doesn’t just ask questions; it invites us to sit with them, to wrestle with them, and to maybe even find a little bit of ourselves in Kate’s struggle.
Final Thoughts
As someone who’s always been drawn to stories that challenge conventions, I’m eagerly anticipating To Have and To Hold. In my opinion, it’s not just a play about sisterhood or marriage; it’s a play about what it means to hold onto your identity in a world that’s constantly asking you to change. What makes this particularly fascinating is how Lapidus uses Shakespeare’s framework to tell a story that feels entirely modern. Personally, I think this is theater at its best—thought-provoking, emotionally resonant, and unapologetically human. If you’re in New York this summer, it’s a production you won’t want to miss.
For tickets and more information, visit ToHavePlay.com. Trust me, this is one conversation you’ll want to be a part of.
