Tina Packer has been in bed with Shakespeare for at least 40 years. And as founding artistic director of Lenox-based Shakespeare & Company, she enjoys a relationship with literature’s alpha dead white male that’s more visceral than academic. Now, in Women of Will (presented by Nora Theatre Company at Central Square Theater through November 6), she’s ready to kiss and tell. Actually, she’s been kissing and telling for a while; this witty, penetrating, idiosyncratic examination of Shakespeare’s deepening understanding of the feminine in his psyche has been in the making for 15 years. When I saw it in the ’90s, it was performed in three parts that moved chronologically from the early histories and comedies through the late romances. It has since both expanded and contracted: Packer, with her scene partner, Nigel Gore, conducts her exploration as a single work, subtitled The Overview, through October 30, and in five parts, dubbed The Complete Journey, November 4-6.
A sort of master class — part lecture, part demonstration — Women of Will alternates among assertions about Shakespeare and the performance (by two accomplished actors steeped to their eyeballs in the Bard) of cuttings from the plays. And though Packer has her theories, she is happy to assign to Shakespeare the “infinite variety” he allots Cleopatra. In The Overview, this is demonstrated from the get-go when Packer offers, in rapid fire, three possible readings of Katherine’s final speech from The Taming of the Shrew. Deprived of food, sleep, and, most important, language, this last-act Kate, Packer opines, is either manic, playing cute, or clinically depressed. Then, as Gore’s brutal Petruchio drags her about on a leash, she renders the speech, jumping from one interpretation to the next to the next.