When it comes to tales of love and woe, Shakespeare is the master of them all. From vague high school memories I have of The Taming of the Shrew, there were several structural problems: the first being no clear definition of love, and for any woman with a strain of feminism, the play can come off an abomination. "It's definitely a difficult play," concedes Lotte St. Claire, who has stepped up to fill the boots of the shrew herself, Kate. "It's difficult as a woman being in that play."

If there's one theatre company likely to take Shakespeare's misogyny and turn it on its head it's the Bell Shakespeare Company, and with seasoned director Marion Potts behind the wheel, it's sure to be an interesting ride. An all female cast and the setting of a gentlemen's club is just the beginning, with the story set for a complete transformation as well. "By having an all female cast, it meant that the audience could see past the misogyny and judge characters on their actions, not necessarily their gender," says St. Claire. "Bianca (Kate's sister) is happy to play the game, whereas Kate is defiant of that throughout the entire play, and in the setting Marion's created, the audience can see that come to life really effectively".

"This is a play about the mistreatment of women, but, it's also about the relationships between men and women. The relationship between Petruchio and Kate is quite different to what a lot of people think it to be," says St. Claire. "He is a radical, but he gives her the opportunity to change, and I think that's what she wants. It's only when she marries Petruchio that she decides to stop banging her head against a wall and enjoy her life and find some happiness."

When Shakespeare is involved, there are always set to be unexpected twists. The tragedy that you think to be the tragedy is in fact not the real tragedy at all and there's always a hint of irony. "What few people ever saw was that Kate is the antagonist to the end, but Bianca has become the shrew," argues St. Claire.

"Marriage has made Bianca a shrew, but freed Kate and made her a compassionate wife and person overall. I definitely think there's a lot of misunderstanding surrounding The Taming of the Shrew."

The optimism and belief which St Claire has for the production could make even the biggest sceptic run for the ticket booth. Heading out on a national tour, the ladies of Bell Shakespeare are certain to tame audiences around the country.

Bell Shakespeare presents The Taming of the Shrew, directed by Marion Potts. Tuesday 6 to Saturday 17 October. Tix $30 - $60. To book call 6275 2700 or head to www.canberratheatre.org.au

'I'm watching 140-odd short films at the moment,' says Kris Kerehona. 'It's like a degustation-tiny, delicious bite sized morsels that you don't get sick of.'

The ex-chef, who swapped his apron and chopping block for a camera, is talking about the Canberra Short Film Festival. He's currently reviewing the entries, and while this might seem like a great job, he reckons it has its challenges. 'It was easy last year to separate the good entries from the average. But this year, there are so many really good quality films that we might have trouble deciding,' Kerehona says.

This year, the Canberra Short Film Festival promises something for every one. Now in its fourteenth year, the festival is a national competition and Canberra's biggest short film festival. The festival's beginnings were humble-a screening of Australian-made shorts as part of the Canberra International Film Festival in 1996. It was so popular that it branched out into a solo festival in 1999.

Since then it's changed hands several times, with Marisa Martin from EOR media handing over the reigns to Silversun Pictures two years ago. The Canberra Short Film Festival has four categories. The National Competition carries a prize of $2000 and is usually the most heavily contested category.

For local filmmakers, the Parlour Wine Room's Canberra & Region Competition offers $1000 in prize money, as does the National Youth Competition, which supports filmmakers aged under 25. The University of Canberra's National Schools Competition offers $500 cash and $500 worth of Madman DVDs for the winner. While there's no final tally just yet, last year's festival received more than 300 entries, so the festival team and judges will have their work cut out for them.

Kris already has his favourites. 'If there was ever a perfect short film, I've found it,' he says with a smile. 'The story centres around a girl who discovers an uncle she never knew she had, and his relationship with the rest of the family.' Another of his favourites is an entry in the schools category. Four boys living in a remote community show us their favourite places, like the fishing hole.

'It's like an invitation into an enclosed world,' Kerehona says. He says there's also an outstanding film is about a father and daughter who live out in the bush, where the daughter is locked in a box every night. 'It's a period piece with the most amazing art direction. I can't tell you the ending, but it's not what you'll expect and I can't believe how good it is.'

So how are the finalists chosen? 'When we judge, we look at the story-that's probably most important. Then cinematography, acting, editing, and sound. For example, if a film has inferior sound, it probably won't make the final program. But if it tells an amazing story there's a level of forgiveness in our judging.' This year's judges include Monica Penders from ScreenACT, Paul Kirwan, a visual effects expert who has worked on the likes of Transformers and Lord of the Rings, and last year's winner, Simon Weaving.

Kris says this year also marks a change in the way the judging process works. 'In the past, we invited interstate judges,' he explains. 'But I thought, it's our festival-can't we judge our own competition locally? So we decided of course we can-look at the talent we've got here. Canberra is a very strong documentary-making city, and some great short films are being made.

'Canberra's time has come. It's no longer a hobbyist film making city. Of all the filmmakers I know here, there's still a couple hundred more I'm yet to meet. And these filmmakers manage without the level of investments and grants that other states have.' He says the festival is a great opportunity for aspiring filmmakers and audiences alike.

'Day-to-day life can be mundane, but at the Canberra Short Film Festival you get a really different experience of life, with a cross section of genres,' Kerehona says. 'I think short films change you as a person. For filmmakers, they make you realise, "Hey, I can do that!" Or you can at least aim for it.'

Many of the films screened at the Canberra Short Film Festival have gone on to bigger and better things. Last year, Simon Weaving's film Ascension made the top five at Tropfest. Other films have gone on to Flickerfest, Sydney Film Festival and St Kilda Film Festival.

What can audiences expect? 'This year is our best year for films so far. And that's not me trying to sell the festival. I'm 100% per cent promising.' You can direct you complaints to Kris if you disagree, but he's confident you won't. 'There really is something for every one. It's a good mix of comedy, drama, horror and animation. The competition is fierce.'

Ticket holders for the final night get entry into a VIP pre-screening party at Dendy, with free cocktails. That's right. A $15 ticket gets you free cocktails thanks to Jamison, and you get to be part of the glam and glitzy film premiere styled party. One final tip-make sure you get your tickets early. Last year's final screening sold out and all the other category screening were near full capacity. Tickets go on sale at Dendy the week before the festival.

The Canberra Short Film Festival is runs 15-17 October at Dendy Cinema, Canberra Centre. More info at: www.silversunpictures.com.au/csff.

In 18th Century Vienna, one composer stands above the rest: court composer for the Emperor of Austria, Antonio Salieri. Heard of him? No? What about the puerile, sniggering young upstart who crawls into his life-bloke named Wolfgang Amadeus Mozart?

Amadeus is dramatic, heightened, almost operatic in its grandeur and the two lead characters stretch towards exaggeration. Salieri is virtuous but mediocre; Mozart is lecherous, feckless, and a musical genius. Director Tama Matheson has done a great job bringing this grandiose story to the stage. While at times the script is a little over the top, the story is fascinating, the cast did a fantastic job and it's a well-realised production.

Salieri is a man all too aware of his own limitations. While technically proficient, he lacks the natural skill of Mozart, and his compositions are histrionic, without passion.

Andrew McFarlane plays his character with precision, at times an object of our pity, despised, or all too understandable. Mozart (Dash Kruck, having a lot of fun), with apparently little effort, hears music in his head and simply transcribes it. He is a genius, sure, but he's also a little off-putting.

The set, what little there is, is striking. The stage is more or less empty, save a raised platform at times used for a throne and a few other set pieces moved on and off the stage. Each piece-elaborate curved chairs, graceful tables, a mini grand piano-is detailed and adds to the mood and the time period.

Sure, this is a play about music, but also much more. It's about envy. It's about jealousy. It's about what it drives us, and how even the most virtuous man may be corrupted.