There is plenty about this new adaptation that works well.

I was immediately drawn into the gorgeous, Italian town square, designed by Jo Winiarski. It's beautiful. As the characters fill the stage, David Kay Mickelsen's costumes are eye-catching, colorful and fun.

Melinda Parrett plays Katharina, the woman with a temper. Parrett has the fiery Italian down pat. Though at times a touch too violent (no need to push down an old man with a cane), she is quite enjoyable storming around the stage.

Parrett's Kate also has a nice arc as she begins to transition to a softer, nicer version of her old self. Many often roll their eyes at Kate's final speech about women placing themselves below their man — their "lord and master." But Parrett's delivery is full of strength and is well-delivered.

Grant Goodman's Petruchio is at times strong and completely masculine and at other times he seems like a silly school boy. It's important that Petruchio's methods and motives are clear — we need to get the impression he knows what he's doing. Described as rough on the outside; intelligent and understanding on the inside; and deeply in love with Katharine, I never got that impression from Goodman's Petruchio.

In executing his plan for taming Kate, he seemed more like a man with a personality disorder; scattered, crazy and unfocused, leaving me wondering what he and his Army buddy had been drinking.

With that said, there were scenes he let his soldier-like strength shine through, and then I liked him quite a bit. Most enjoyable: the scene were the two first meet, and also the ending when, finally, we see Petruchio really has feelings for Kate as he spares her hand from touching the ground.

"Shrew" is always worth the time — it's very funny, and after all these years, still relatable. This cast is pretty solid, the costumes are gorgeous and overall, you'll leave feeling like you've spent the afternoon in the Italian countryside.

Sensitivity Rating: Sexual innuendo, some mild sexual gestures, a tiny amount of slapping, pushing and spanking.

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"FIDDLER ON THE ROOF," running time: 2 hours 40 minutes (one intermission)

Six notes, played by a single fiddle, are unmistakable. As we get introduced to the village of Anatevka, the townsfolk dance, arms in the air, singing about tradition. It's the opening to "Fiddler on the Roof" at USF — and it should be the first of many times you get chills.

"Fiddler" opened on Broadway in 1964 and was the first musical to break the 3,000-performance barrier — a record it held for a decade.