Much Ado About Nothing
Sigh no more Ladies, sigh no more. . . . such elegant wit . . . .such banter . . . such love. . . . .
Much Ado About Nothing
The Swan Theatre – RSC
Monday 15th May 2006 7:15pm
The production of Much Ado (whose initials incidentally spell MAAN – man) is performed by one of the RSC resident company of actors. Set in early 1950’s Cuba (pre revolution), the setting works well for the play – the army part of the story fits into the time, as does the wit and sassiness of the text.
A relatively simple set – as I believe all RSC in repertoire productions to have, turns the Swan Theatre into a slightly grungy, rundown outside area, a light post with a flickering bar sign located downstage. An ever-present sound of crickets and a slightly smoky air gives the instant illusion of a hot smoky week – the duration of the play (10 days to be precise).
I should say at the outset that I loved the play. I mean LOVED! Almost more so than I loved Hamlet – but perhaps that is because Much Ado makes me laugh and feeds the romantic in me.
Benedick, brilliantly played by the sexy Joseph Millson, managed to surpass my long term favourite Kenneth Branagh. Millsons manner as Benedick is so charming, intelligent and loveable that you can’t help feel for the man when Beatrice opens her mouth and spits fiery words at him.
Beatrice, whilst played with a sharper, harsher edge that I have seen before, was portrayed excellently by Tasmin Greig (who apparently is a popular TV actress). Even her walk, often a slow, swinging seductress walk was perfect, and she seems, at all times, in control with a definable presence on stage.
It was hard not to be drawn to these two characters when they were on stage, so complete were they in their roles and delightful to watch. I do find the characters of B and B quite vulnerable - for the most part due to their habit of hurting people with their wit – before, I expect, they themselves would get hurt.
At times it was too easy to forget that there was another central plot going on – that of Hero and Claudio. As good as these two were, I felt they faded a bit into the background when B and B were there.
So back to B and B for a moment. The two scenes, where first Leonarto, Don Pedro and Claudio conspire to trick Benedick into thinking Beatrice loves him, and then Hero and Ursula trick Beatrice into thinking Benedick loves her, were the highlight of the performance. Pure slapstick on B and B’s parts – tripping over the tree that hid him, hiding behind her hands . . . . it was wonderful comic timing from the other cast members and the audience could see they were all enjoying themselves. I too, was enjoying it, having tears in my eyes from laughing so hard, and both scenes received rounds of applause at the end of them.
I was disappointed then, at the pitiful performance of Dogberry and The Watchmen, scenes of which opened the second half and play a large role in revealing the plot against Hero / Claudio. The characters should be slapstick and funny, an effort to break up what has just become a tragic play, but I found them downright tedious. Although I have never really appreciated these parts at the best of times, it was clear that the audience weren’t particularly impressed, shown by the increase of coughing and shuffling.
However, bravo to the rest of the cast. The standouts for me were Jamie Ballard as Borachio (follower of Don John), Amy Brown as Margaret (the unknowing accomplice) and Yvette Rochester-Duncan – a bit part but most noticeably in the singing of the “sigh no more ladies” piece, in a wonderfully slow, sexy and sultry voice.
Hats off to Jonny Weir too, as the malcontent bastard brother of Don Pedro. He excelled at slinking into a room, snake like, and he spoke with such hatred!
But I find my minds eye being drawn again and again back to the scenes with Benedick and Beatrice. The scene towards the end where Beatrice asks Benedick to kill Claudio is heart wrenching with its question – how much can you love someone and what would you do for them?
It was, however, the wit, the humour, the intelligence (perhaps that it why I like the play so much, I always thought it was one of Shakespeare’s most intelligent) and the standout performances that really made the production amazing.
Can’t wait to see it again.
Much Ado About Nothing
The Swan Theatre – RSC
Monday 15th May 2006 7:15pm
The production of Much Ado (whose initials incidentally spell MAAN – man) is performed by one of the RSC resident company of actors. Set in early 1950’s Cuba (pre revolution), the setting works well for the play – the army part of the story fits into the time, as does the wit and sassiness of the text.
A relatively simple set – as I believe all RSC in repertoire productions to have, turns the Swan Theatre into a slightly grungy, rundown outside area, a light post with a flickering bar sign located downstage. An ever-present sound of crickets and a slightly smoky air gives the instant illusion of a hot smoky week – the duration of the play (10 days to be precise).
I should say at the outset that I loved the play. I mean LOVED! Almost more so than I loved Hamlet – but perhaps that is because Much Ado makes me laugh and feeds the romantic in me.
Benedick, brilliantly played by the sexy Joseph Millson, managed to surpass my long term favourite Kenneth Branagh. Millsons manner as Benedick is so charming, intelligent and loveable that you can’t help feel for the man when Beatrice opens her mouth and spits fiery words at him.
Beatrice, whilst played with a sharper, harsher edge that I have seen before, was portrayed excellently by Tasmin Greig (who apparently is a popular TV actress). Even her walk, often a slow, swinging seductress walk was perfect, and she seems, at all times, in control with a definable presence on stage.
It was hard not to be drawn to these two characters when they were on stage, so complete were they in their roles and delightful to watch. I do find the characters of B and B quite vulnerable - for the most part due to their habit of hurting people with their wit – before, I expect, they themselves would get hurt.
At times it was too easy to forget that there was another central plot going on – that of Hero and Claudio. As good as these two were, I felt they faded a bit into the background when B and B were there.
So back to B and B for a moment. The two scenes, where first Leonarto, Don Pedro and Claudio conspire to trick Benedick into thinking Beatrice loves him, and then Hero and Ursula trick Beatrice into thinking Benedick loves her, were the highlight of the performance. Pure slapstick on B and B’s parts – tripping over the tree that hid him, hiding behind her hands . . . . it was wonderful comic timing from the other cast members and the audience could see they were all enjoying themselves. I too, was enjoying it, having tears in my eyes from laughing so hard, and both scenes received rounds of applause at the end of them.
I was disappointed then, at the pitiful performance of Dogberry and The Watchmen, scenes of which opened the second half and play a large role in revealing the plot against Hero / Claudio. The characters should be slapstick and funny, an effort to break up what has just become a tragic play, but I found them downright tedious. Although I have never really appreciated these parts at the best of times, it was clear that the audience weren’t particularly impressed, shown by the increase of coughing and shuffling.
However, bravo to the rest of the cast. The standouts for me were Jamie Ballard as Borachio (follower of Don John), Amy Brown as Margaret (the unknowing accomplice) and Yvette Rochester-Duncan – a bit part but most noticeably in the singing of the “sigh no more ladies” piece, in a wonderfully slow, sexy and sultry voice.
Hats off to Jonny Weir too, as the malcontent bastard brother of Don Pedro. He excelled at slinking into a room, snake like, and he spoke with such hatred!
But I find my minds eye being drawn again and again back to the scenes with Benedick and Beatrice. The scene towards the end where Beatrice asks Benedick to kill Claudio is heart wrenching with its question – how much can you love someone and what would you do for them?
It was, however, the wit, the humour, the intelligence (perhaps that it why I like the play so much, I always thought it was one of Shakespeare’s most intelligent) and the standout performances that really made the production amazing.
Can’t wait to see it again.
posted by Anna at 2:36 pm
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