REVIEWS REVIEWS
So many productions these days suffer from a theatrical neophilia, in which some element must be twisted or turned to create a new take on a traditional play, such as reversing the gender roles of the romantic leads. Tricks such as these are commonplace now in the director's search for a new and exciting way to "do" Shakespeare. How refreshing then that Peter Hall's production of the great comedy rebuffs the trend and sticks to a resolutely traditional approach.
For those not in the know, Much Ado About Nothing is a comedy that focuses on three relationships. The first is that of the "innocents", of Claudio who returns from battle and promptly falls in love with the equally young and beautiful Hero. Secondly, we have the more mature and cynical wits in the form of Beatrice and Benedick, who take great pleasure in their verbal sparring. The final storyline is that of two brothers, completely disparate in their characters, with the noble matchmaker Don Pedro and his villainous illegitimate brother, Don John, plotting to ignite and destroy the romances of others respectively. The comedy of the love affairs and the sparkling dialogue is underpinned by more serious themes of betrayal and vice, as evidenced when Hero's virtue is challenged.
As would be expected in a Peter Hall production, each of the performances is polished and effectively executed. However, the really masterful portrayals are those of Benedick and Beatrice whose lively and spirited dialogue is perfectly delivered. Their keenness to spar with each other makes it clear from the outset that romance will follow, but both are sworn critics of marriage and vow that they will never fall in love. Janie Dee's Beatrice is dynamic and feisty without being shrewish and Benedick's quick wit is given ease and charisma by Adan Gillett. Both my companion and myself agreed that Gillett's performance really steals the show, but is closely followed by Charles Edwards' interpretation of the Prince, Don Pedro, as a witty and compassionate aristocrat. Combined, these strong performances create an amusing and plausible set of characters.
A slightly discordant note was hit with the clowning scenes featuring Dogberry and the Watch, which did not quite convey the raucous humour that Shakespeare intended. The audience seemed to respond with much more enthusiasm to the outdoor scenes in which Benedick and Beatrice were hoodwinked by their friends into falling in love. Particularly effective was the scene with the men, where Gillett again shows great comic timing and delivery and delights in clowning around. These scenes also benefit from a set which is, like the play, simple yet extremely effective. Throughout, each set is expertly lit by Peter Mumford and benefits from minimal scenery by Kevin Rigden, but each element is evidently carefully considered and designed for maximum effectiveness. In particular, the tomb scene presents solemn and melancholy surroundings, and the effect is much greater than the sum of its parts. In short, this production is a sharp, unembellished approach to Shakespeare; and when you do it this well, there really is no need for gimmicks. © KA
“Much Ado About Nothing” is in repertory in Bath on the 29th June until the 6th August, 2005.
