In 1956, the students of Adi Cakobau School (ACS) regrettably decided to discontinue their tradition of staging an annual Shakespearean play because the boys from Queen Victoria School had also begun to embrace the works of William Shakespeare. According to a report from *The Fiji Times* in February 1964, the girls at ACS felt there was insufficient interest to support two such productions annually, a decision that disappointed many in the community beyond just the lovers of Shakespeare.
Despite the loss, the girls at ACS demonstrated their talents with a presentation of five scenes from “The Taming of the Shrew” at the Suva Town Hall, showcasing their abilities to a modest audience of around 50 people, mostly Fijians. While the condensed version of Shakespeare’s work may have lacked narrative continuity, the central story of the fiery Katharina being subdued by her suitor Petruchio remained clear and engaging for those in attendance. The spectators were entertained and responded with laughter to the witty exchanges woven into Shakespeare’s renowned verses.
The students brought a unique freshness and charming naivety to their performances, an interpretation that could have surely pleased the Bard himself. Even though some might say the girls needed more experience, their confidence and poise on stage were commendable. A few decades earlier, it would have been hard to envision Fijian girls commanding the stage so adeptly, displaying an impressive mastery of their lines, playing various roles, and even handling male characters convincingly.
The production could have garnered more support, particularly from the European Community, showcasing how Fijian girls, along with peers from Tonga and other regions, are embracing their rightful place in a modern world, defying outdated stereotypes of island girls as merely household help. Taufa Bole, who had previously portrayed Petruchio, served as the producer and made minor missteps in casting, but overall, the leading roles were played effectively, each actress bringing their character to life without any significant errors.
Notable performances included Nanise Waqa, who portrayed the father with authority, and Jiko Cavu, who tackled the challenges of playing Lucentio. The highlight of the evening was Seruwaia Kunabuli’s commanding performance as Petruchio, which showcased her convincing interpretation of the role. While Marica Bainivalu’s portrayal of Katharina may not have been as shrewish as some might expect, she nonetheless delivered an engaging performance that resonated with the audience.
Sophia Tuitoga, as Bianca, was demure, while other supporting characters, such as Mere Naseka as Hortensio and Sereima Diqamu as the servant Grumio, added delightful nuances to the production. The choreography, executed by several other girls, enhanced the overall experience, although there was some desire for longer dance segments.
The scenery, crafted by the students to depict a Paduan nobleman’s residence, was another notable aspect of the production. Following its initial success, the play was repeated at the same venue on February 7, with hopes that these performances would inspire more support for the arts in the community. The commitment of these young women not only showcased their talents but also highlighted the progressive strides being made within their society.
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