Los Angeles Times - Recommended
"..."Let's Make a Deal's" Wayne Brady as the lead in a revival of "Kiss Me, Kate": It almost sounds like an especially wacky draft in some fantasy stunt-casting league for theater directors. Sheldon Epps of the Pasadena Playhouse has not only made it happen, he has used it as the inspiration for an ingenious adaptation of the beloved 1948 musical."
LA Weekly - Somewhat Recommended
"...Similarly cringe-worthy from a modern perspective is the deeply sexist Kiss Me, Kate, which premiered on Broadway in 1948 and is generally perceived as one of Cole Porter's finest pieces, following a band of actors performing The Taming of the Shrew who find life imitating art. Indeed, the marriage of Porter's lyrical genius with Shakespeare's wit is a match made in heaven: You'd be hard-pressed to find a finer integration of phallic jokes and witty couplets anywhere. The songs are wonderful (or are they "Wunderbar"?) and have admirably withstood the test of time. The show's story, however, has not. But this proves the only stumbling block for the Pasadena Playhouse's new production of the musical, playing through Oct. 12. Director Sheldon Epps nimbly adapts the source material, keeping the setting and casting the show mostly with black actors. The issue of race is acknowledged but underplayed, focusing more on the performances than on social commentary. A few of the songs (such as "Another Op'nin, Another Show" and "Too Darn Hot") see delightful new arrangements (under the supervision of music director Rahn Coleman) that slip seamlessly into the score."
Broadway World - Recommended
"...…Kate is a battle of the sexes show that has it all: great songs, great dance, great physical and verbal sparring for the two actors playing Kate and Petruchio, and a lightweight delightfully silly plot to make it thoroughly enjoyable. If you have never seen Kiss Me Kate, you owe it to yourself to catch this excellent production before October 12."
Edge - Recommended
"...When it comes to re-imagining classic productions, it's no secret that Pasadena Playhouse's artistic director Sheldon Epps likes to walk the line. Centering classic plays through a lens focused on showcasing the history and culture of African-Americans has its ups (such as challenging the audience) and downs (such as distracting the audience from the actual storyline). But, the charming web he intertwined with a cast of trailblazing black stage actors and composer-lyricist Cole Porter's classic, "Kiss Me, Kate," is, undoubtedly, a success."
Stage Scene LA - Recommended
"...A stellar, (almost) all-African-American cast breathe new life into the 1948 William Shakespeare-meets-Cole Porter classic Kiss Me Kate, an innovative Pasadena Playhouse revival that works to perfection for all but about ten minutes of its thrillingly reinvigorated two acts."
ReviewPlays.com - Recommended
"...The Pasadena Playhouse is presenting a slightly different adaptation of Bella and Samuel Spewak's book of the same musical with an African American cast belting out Cole Porter's wonderful music with wonderful voices, superb dancers, and an all-talented cast."
Examiner - Recommended
"...Do not miss "Kiss Me, Kate!""
OC Register - Recommended
"...Pasadena Playhouse breathes vitality into the classic Cole Porter musical."
Neon Tommy - Recommended
"...With brilliant direction by Sheldon Epps, Motown-infused choreography by Jeffrey Polk, and beautiful performances by five-time Emmy Award winner Wayne Brady, Broadway goddess Merle Dandridge, and a fabulous cast of 15 tremendously talented supporting characters, "Kiss Me, Kate" is a true tribute to Cole Porter's original Tony-winning story."
TheatreMania - Somewhat Recommended
"...This production has many dazzling moments, particularly because of the supporting cast, but it's not without its faults in casting and concept."
LifeInLA - Recommended
"...Under the nimble direction of Playhouse artistic director Sheldon Epps, this is a toe-tapping, smile-inducing throwback to a time when everyone had songs in their hearts, and a plot contrivance wasn't a sign of weak writing, but a necessity to adhere to the rule of a big, sweeping musical, that-in the words of the immortal Bard-all's well that ends well."