A live performance of the 1999 revival, taped in London in the theatre in which it was staged, and in front of a live audience.



, (book) | 2 more credits »


Episode cast overview, first billed only:
Lilli Vanessi / Katherine
Nancy Kathryn Anderson ...
Lois Lane / Bianca (as Nancy Anderson)
Nicholas Colicos ...
Harrison Howell (as Nicolas Colicos)
First Man
Jack Chissick ...
Second Man
Kaye Brown ...
Hattie (as Kaye E. Brown)
Nolan Frederick ...
Colin Farrell ...
Nick Winston ...
Barry McNeill ...
Alan Vicary ...
Ralph the Stage Manager
Andrew Spillett ...
Cab Driver / Nathaniel
Duncan Smith ...


A live performance of the 1999 revival, taped in London in the theatre in which it was staged, and in front of a live audience.

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Release Date:

26 February 2003 (USA)  »

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Did You Know?


The original Broadway production of "Kiss Me Kate" opened at the New Century Theater on December 30, 1948, ran for 1077 performances and won the 1954 Tony Awards for the Best Musical, Book and Score. See more »


Harrison Howell: Thank you Graham. I think I can make this little woman happy.
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Version of Il bisbetico domato (1980) See more »


Tom, Dick and Harry
Music and Lyrics by Cole Porter
Sung by Nancy Kathryn Anderson, Nick Winston, Barry McNeill and Michael Berresse
See more »

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User Reviews

Fantastic Recording, minus a few odd camera decisions.
20 June 2006 | by (United States) – See all my reviews

A fantastic cast and a slew of great performances highlight this version of the 1999 revival.

The orchestrations are top notch, and the choreography is jazzy and energetic.

With Brent Barrett and Rachel York playing the two leads, the performance really painted a wonderful picture, and they sang the score with a gusto that would make any Cole Porter fan proud.

Nancy Kathryn Anderson's Bianca/Lois is sultry and at the same time enticingly comical. "Always True to You Darling In My Fashion" was a powerhouse show stopper.

Michael Berresse was also a stand-out as Bill/Lucentio, especially shining in the dance department.

The only real complaint, is that the camera tends to stay on close-ups of the performers, and rarely backs away to let the viewer see the whole picture. Because of this, some of the brilliant choreography is missed, and the viewer is left looking at a single actor's expression to a dance step off-screen. The dances of the show were choreographed with the audience in mind, meaning that the view-point was meant to be from the front, and oddly-placed profile camera angles during the dance numbers take away from the overall 'look'. This is most noticeable in "Tom, Dick, or Harry"

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