Kiss Me, Kate (Revised 1999)


Passions run high as leading lady Lilli Vanessi and her ex-husband, actor/director Fred Graham, battle onstage and off in a production of Shakespeare’s Taming of the Shrew. With romance, comedy, sophistication, and behind-the-scenes high jinks, KISS ME, KATE combines the irreverent humor of two brilliant writers: Cole Porter and William Shakespeare. Musical numbers include “So In Love,” “Wunderbar,” “Tom, Dick or Harry,” “Too Darn Hot,” “Brush Up Your Shakespeare,” “I Hate Men,” “Always True to You (In My Fashion)” and “Another Op’nin, Another Show.”

KISS ME, KATE was originally produced in 1948, and is considered one of Broadway’s great treasures. It was revived on Broadway in 1999, taking advantage of new technology in music and reflecting evolving social values. The Revised Version features a brand-new orchestration and a refined script. All seventeen of the original songs remain in the revised score, with the addition of “From This Moment On,” from Porter’s OUT OF THIS WORLD and the 1953 film adaptation of KISS ME, KATE. Among the script changes, the character of Harrison Howell is now a general with political ambitions, adding some topical humor from the show’s time period.

Music samples courtesy of DRG Records and Warner/Chappell Music, Inc.

Authorized performance and rehearsal tracks for KISS ME, KATE (Revised 1999) are available from The MT Pit. For more information, visit

  • Synopsis
  • Credits
  • Orchestration
  • Materials
  • Cast
  • History
  • Musical Numbers
  • Upcoming
  • Act I

    In a Baltimore theatre, the cast of a musical version of William Shakespeare’s The Taming of the Shrew rehearses for the opening of the show that evening (“Another Op’nin’, Another Show”). Egotistical director/producer/leading man Fred Graham stars as Petruchio, and his movie star ex-wife, Lilli Vanessi, is playing Katherine. The two argue incessantly, and Lilli is particularly angered by Fred’s interest in the atractive young actress Lois Lane, who is playing Bianca. After the rehearsal, Lois’s boyfriend Bill appears; he is playing Lucentio, but he missed the rehearsal because he was gambling. He tells her that he signed a $10,000 IOU in Fred’s name, and Lois reprimands him (“Why Can’t You Behave?”).

    Before the opening, Fred and Lilli meet backstage, and Lilli shows off her engagement ring from Washington insider Harrison Howell, reminding Fred that it’s the anniversary of their divorce. They recall the operetta in which they met (“Wunderbar”). Two gangsters show up to collect the $10,000 IOU, and Fred replies that he never signed it. The gangsters say they’ll give him time to remember it and will return later. In her dressing room, Lilli receives flowers from Fred, and she realizes that she is still “So In Love.” Fred tries to prevent Lilli from reading the card that came with the flowers, because he actually intended them for Lois. But Lilli takes the card with her onstage, saying she will read it later.

    The show begins (“We Open in Venice”). Baptista, Katherine and Bianca’s wealthy father, will not allow his younger daughter Bianca to marry until his older daughter Katherine is married. But Kate is shrewish and ill tempered, and no man desires to marry her. Three suitors – Lucentio, Hortensio, and Gremio – try to woo Bianca, and she says that she would marry any of them (“Tom, Dick, or Harry”). Petruchio, a friend of Lucentio, arrives, expressing a desire to marry into wealth (“I’ve Come to Wive it Wealthily in Padua”). The suitors hatch a plan for him to marry Kate.

    Kate, however, has no intentions of getting married (“I Hate Men”). Nonetheless, Petruchio attempts to woo her (“Were Thine That Special Face”). Offstage, Lilli has an opportunity to read the card. She walks on stage off-cue and begins hitting Fred, who, along with the other actors, tries to remain in character as Baptista grants Petruchio permission to marry Kate.

    Offstage, Lilli furiously declares she is leaving the show. However, the gangsters have reappeared, and Fred tells them that if Lilli quits, he’ll have to close the show and won’t be able to pay them the $10,000. The gangsters, at gunpoint, force Lilli to stay.

    Onstage, Bianca and Lucentio dance together (“We Sing of Love”). Petruchio and Kate, newly wed, exit the church, followed by the gangsters, now dressed in Shakespearean costume as they keep an eye on Lilli. Petruchio implores Kate to kiss him, and she refuses. He lifts her over his shoulder and carries her offstage while she pummels his shoulder with her fists (“Kiss Me, Kate”).

    Act II

    During the show’s intermission, the cast and crew relax in the alley behind the theater. Paul, Fred’s assistant, along with a couple other crew members, lament that it’s “Too Darn Hot” to meet their lovers that night. The play continues, and Petruchio exhausted from ‘taming’ Katherine, mourns for his now-lost bachelor life (“Where Is the Life That Late I Led?”).

    Offstage, Lilli’s fiancé Harrison Howell looks for her. He runs into Lois, and she recognizes him as a former lover but promises not to tell Lilli. Bill is shocked to overhear this, but Lois tells him that even if she is involved with other men, she is faithful to him in her own way (“Always True to You in My Fashion”). Lilli tries to explain to Howell that she is being forced to stay at the theatre by the gangsters, but Howell doesn’t believe her and wants to discuss wedding plans. Fred insidiously points out how boring Lilli’s life with Howell will be compared to the theatre. Bill sings a love song he has written for Lois (“Bianca”).

    The gangsters discover that their boss has been killed, so the IOU is no longer valid. Lilli leaves—without Howell—as Fred unsuccessfully tries to convince her to stay (“So in Love” Reprise). The gangsters get caught on stage and improvise a tribute to the Bard (“Brush Up Your Shakespeare”). The company prepares for the conclusion of the play, the wedding of Bianca and Lucentio, despite Lilli’s absence. Just in time, Lilli enters and delivers Kate’s final speech beautifully (“I Am Ashamed That Women Are So Simple”). Fred and Lilli wordlessly reconcile on stage, and the play ends with the two couples united (Finale).

    Music and Lyrics by Cole Porter
    Book by Sam and Bella Spewack

    Authors’ billing shall appear in a size not less than that afforded any other element of the production. All the Authors shall be billed in the same size of type, and no Author shall receive billing credit unless all the Authors are afforded billing credit. In the programs, the credits shall appear on the title page thereof.

    The title page of the program shall contain the following announcement in type size at least one-half the size of the authors’ credits:

    is presented by arrangement with
    Tams-Witmark, A Concord Theatricals Company

    Additionally, you agree to include the above language hyperlinked to on all websites on which you promote the play.

  • NOTE: Authorized performance and rehearsal tracks for KISS ME, KATE (Revised 1999) are available from The MT Pit. For more information, visit

    Full Instrumentation

    1 Reed I: Piccolo, Flute, Clarinet, Soprano & Alto Saxophone
    1 Reed II: Flute II, Clarinet I & Alto Saxophone
    1 Reed III: Flute III (or Oboe), Oboe, English Horn, Clarinet II, Soprano Saxophone (or Clarinet) & Tenor Saxophone
    1 Reed IV: Clarinet, Bass Clarinet, Bassoon & Baritone Saxophone

    1 Horn
    1 Trumpet I (doubles Flugelhorn and Piccolo Trumpet)
    1 Trumpet II (doubles Flugelhorn and Piccolo Trumpet)
    1 Trombone [tenor] (doubles Bass Trombone for No. 4 “Wunderbar” and No. 22 “Pavane.” Optional Tuba for No.4 “Wunderbar.”)

    2 Percussion I & II: (* indicates shared instruments)
    I – Trap Drums:
    Bass Drum
    Snare Drum (brushes, sticks & mallets)
    Tom Toms
    Conga (for stage cue)
    Suspended Cymbals (at least 4: crash, splash, sizzle & Chinese)
    Finger Cymbals
    Mark Tree
    Bell Tree
    *Temple Blocks (4)
    Wood Blocks (2)
    Cow Bell
    Duck Call
    *Sandpaper Blocks
    Guiro (optional)
    Sleigh Bells

    II – Mallet Instruments:
    Timpani (2 pedal drums)
    Glockenspiel (Bells)
    Marimba (optional)
    Suspended Cymbals (crash, splash, sizzle & Chinese)
    Finger Cymbals
    Mark Tree
    Bell Tree
    Wood Blocks (horse hooves)
    *Temple Blocks
    *Sandpaper Blocks
    Bass Drum (Gran Cassa) w/ attached Cymbal)
    Mouth Siren
    Bulb Horn
    Fight Bell
    Ship’s Bell
    Brass Bell (or “G” Chime)
    Steel Plate

    1 Harp
    1 Guitar (doubling Mandolin & Lute or Nylon Guitar)
    1 Keyboard Synthesizer (principally orchestra harmonic rhythm piano) with registrations for: Piano, Tack Piano (Honky Tonk Piano), Celeste, Harpsichord, Accordion (French Musette), Strings, Violin Sound, Acoustic/Electric Piano combination, Flute/Clarinet combination, Glock/Flute combination & Bass Drum (Gran Cassa).

    3 Violins I & II
    1 Viola (doubling Violin)
    1 Cello
    1 Bass

    Piano-Conductor’s Score sent with rehearsal material.

    A special String Substitute Keyboard Synthesizer part covering the music for Violins I & II, Viola and Cello is available, at an additional charge, with the rental of the full orchestration.

  • Rehearsal Materials

    2       Piano/Conductor Scores
    20     Libretto/Vocal Books

    NOTE: Authorized performance and rehearsal tracks for KISS ME, KATE (Revised 1999) are available from The MT Pit. For more information, visit

  • Principals

    (3 female; 7 male)

    Hattie — Lili Vanessi’s dresser
    Paul — Fred Graham’s dresser, specialty dancer & leader of solo trio for “Too Darn Hot”
    Lois Lane (Bianca) — a nightclub singer in her first featured role on the stage
    Bill Calhoun (Lucentio) — a Broadway hoofer, Lois’ partner and a chronic gambler
    Lilli Vanessi (Katharine) — a star stage and screen actress, former wife of Fred Graham
    Fred Graham (Petruchio) — writer, producer, director, actor and superman; former husband of Lili
    First Man — gunman-enforcer & half the donkey for Finale Act Two
    Second Man — gunman-enforcer & half the donkey for Finale Act Two
    Gremio — first suitor; ensemble dancer & motorcyclist; doubles as Flynt, aide to Gen. Howell
    Hortensio — second suitor; ensemble dancer & motorcyclist; doubles as Riley, aide to Gen. Howell
    General Harrison Howell — career military officer, politician and Lili’s “new” man


    Pops (Stage Doorman) — ensemble; doubles as Padua Priest
    Ralph (Stage Manager) — ensemble singer
    Dance Captain — doubles as Gregory, servant to Petruchio; ensemble dancer & recorder player
    Harry Trevor — a veteran character actor; doubles as Baptista Minola
    Stagehand #1 (Electrician & Cab Driver — doubles as Nathaniel, servant to Petruchio
    Stagehand #2 (Assistant Electrician) — doubles as Philip, servant to Petruchio
    Stagehand #3 (Carpenter & Driver for Gen. Howell — doubles as Haberdasher
    Wardrobe Lady — ensemble singer
    Ensemble Singer — part of female quartet for “Bianca”; doubles as Padua Inn Waitress
    Two Women — part of female quartet for “Bianca”
    Four Women — ensemble dancers


    Company SATB singers and dancers
    Citizens of Padua

    The 1999 Broadway production had a cast of 25 performers, including chorus. Doubling was employed as indicated.

  • The original production of KISS ME, KATE played for 1,077 performances on Broadway at the New Century Theatre and for 501 performances in London at the Coliseum Theatre. The cast included Alfred Drake, Patricia Morison, Lisa Kirk and Harold Lang. The original cast album issued in 1948 by Columbia Records had the distinction of being the very first Broadway cast recording to be issued on LP. KISS ME, KATE was revived in 1999 at the Martin Beck Theatre on Broadway, where it played for 881 performances starring Brian Stokes Mitchell and Marin Mazzie, and at the Victoria Palace Theatre in London, where it played for about 300 performances starring Brent Barrett and Marin Mazzie.

    Awards (2000)

    5 Tony Awards for Best Revival, Best Actor, Best Costumes, Best Director and Best Orchestrations.
    6 Drama Desk Awards for Outstanding Revival, Actor, Director, Orchestrations, Set Design and Costume Design.

  • Act I

    1. Opening Act I (Part I): “Another Op’nin’, Another Show” – Stage Doorman, Three Stagehands, Hattie, & the Wardrobe Lady
    1a. Opening Act One (Part II): “Another Op’nin’, Another Show” – Hattie, Paul, & SATB Ensemble
    1b. Opening Act One (Part III): Another Op’nin’, Another Show – Orchestra
    1c. Opening Act One (Part IV): Why Can’t You Behave? / Always True To You in My Fashion / Wunderbar / So In Love – Orchestra
    1d. Opening Act One (Part V): “Another Op’nin’, Another Show” – Hattie & SATB Ensemble
    2. Incidental: I Hate Men – Orchestra
    2a. Incidental: I’ve Come To Wive It Wealthily in Padua – Orchestra
    3. “Why Can’t You Behave?” – Lois & Bill
    3a. Scene Change: Behave – Orchestra
    4. “Wunderbar” – Fred & Lilli
    4a. Incidental: After Wunderbar – Orchestra
    5. “So In Love” – Lilli
    5a. Underscore: Shrew Overture – Orchestra
    6. “We Open in Venice” – Katherine, Petruchio, Bianca, & Lucentio
    7. “Tom, Dick, or Harry” – Bianca, Gremio, Hortensio, & Lucentio
    8. “I’ve Come To Wive It Wealthily in Padua” – Petruchio & Men
    9. “I Hate Men” – Katharine
    10. “Were Thine That Special Face” – Petruchio
    10a. Scene Change: Venice Chaser – Orchestra
    11. “Cantiamo D’Amore” – Three males & Ensemble
    11a. Scene Change: Cantiamo Playoff – Orchestra
    12, Finale Act One: “Kiss Me, Kate” – Petruchio, Katharine, & Ensemble

    Act II

    13. Entr’acte: “Kiss Me Kate” – Petruchio, Katharine, & Ensemble
    14. “Too Darn Hot” – Paul, two musicians, & Ensemble
    14a. Too Darn Hot (Dance) – Orchestra with Ensemble
    15. Shrew Entr’acte – Orchestra
    15a. Scene Change: Fashion Tag – Orchestra
    16. “Where Is The Life That I Late Led” – Petruchio
    17. “Always True to You in My Fashion” – Lois
    17a. Encore: “Always True to You in My Fashion” – Lois
    17b. Scene Change: Fashion Tag – Orchestra
    18. “From This Moment On” – General Howell & Lilli
    19. “Bianca” – Bill & Ensemble
    19a. Incidental: General’s Entrance – Drum Cadence
    20. Reprise: “So In Love” – Fred
    20a. Scene Change: Venice Chaser – Orchestra
    21. “Brush Up Your Shakespeare” – The Two Men
    21a. First Encore: “Shakespeare” – The Two Men
    21b. Second Encore: “Shakespeare” – The Two Men
    22. Pavane – Orchestra
    23. “I Am Ashamed That Women Are So Simple” – Katharine
    24. Finale Act Two – Katharine, Petruchio, & Company
    25. Bows – Orchestra
    26. Exit Music – Orchestra

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