Rachel Kavanaugh is now top girl at Birmingham Rep but this summer she returns to Regent's Park, where she first made her reputation. Her production of one of Shakespeare's trickiest plays is more competent than many at this address: it is clearly spoken, the comedy is adroitly handled and there are strong performances. But it is misconceived in its attempt to turn the play into a 1940s romantic screwball comedy. It is only Katherina who is getting screwed here. It is some years since I have seen a Shrew in which the sexual politics are quite so Neanderthal.
Kit Surrey's design sets the tone, and it is clear that plonking the production in early-1940s Italy is a fashion statement, not a political or social one. Nice frocks, but it is odd that no one mentions the war. Instead, into this bubble of the provincially picaresque wanders John Hodgkinson's Petruchio, whose greying temples and snappy suit suggest Cary Grant. But this is no charmer, rather a cynical opportunist out for Katherina's money. I think we are supposed to accept that he is surprised by love, but the only surprise is that Sirine Saba's Katherina doesn't call his bluff.
The premise of all romantic comedy is that we will find the contrary, mismatched protagonists attractive even when they are doing their best to appear otherwise. But both are almost entirely charmless here, and the portrayal of Katherina as a pyjama-clad child-woman who has not yet outgrown the sibling rivalries of the nursery adds a creepy overtone to Petruchio's "taming", as the mature man takes his child bride in hand. There are odd moments when it is more interesting, particularly in the suggestion that in breaking her, he may also break himself, but on the whole Katherina's experience is no laughing matter.
· Until September 2. Box office: 0870 060 1811.
