Old hands Northern Broadsides return to Lancaster's Duke’s to breathe new life into Shakespeare’s much loved romantic comedy, Much Ado About Nothing. Northern Broadsides was established by Barrie Rutter in 1992, as he was driven by a desire to perform classical theatre in a northern voice to a northern audience, a principal that has been at the root of the company’s vast range of productions and struck me immediately as the first lines were spoken.
Directed by Conrad Nelson, the action takes place at the end of World War II. While by no means a completely original concept (the RSC got there first in their 2002 production of the same), their take is charmingly reinvigorated by it nonetheless, interspacing wordy speeches with barber-shop quartet, swing dance and live Big Band brass.
Returned victorious from a lengthy war, Don Pedro and his companions take their leisure in the home of nobleman Leonato and cast their minds to more everyday pursuits, such as love and marriage. For the young Count Claudio, meeting in peacetime has reignited his interest in Leonato’s daughter Hero – an excellent match if only he were brave enough to broker it. Whereas, in the opinion of true Man’s Man, Benedick, wedded bliss is just another disease to be avoided like the plague, as the self-confessed bachelor makes a point of tit-for-tat public ridicule with his former amore and verbal sparring partner Beatrice. With such outward disdain of & blindness to their obvious suitability, their friends are determined to gull them into a relationship through sheer trickery. As love conspires to bring them together, the Prince’s bastard brother Don Juan has also plotted a mischief of his own – to have revenge on his royal sibling by bringing Hero’s chastity into question- ruining her nuptials! But when all’s fair in love and war (or peace) which side shall win out?
With a colourful ensemble of lovers, liars, idiots and hero(ines), Northern Broadsides faced up to the challenge of this tangled web with clownish humour, song and dance, without ever having a dull moment. The costumes were faithful to the 1940’s setting, with army uniforms and flirty tea dresses, and the masque ball provided the opportunity for the designers to go all out. Beatrice’s costume was particularly pertinent, dressed in chain mail and armour of a great female warrior, as she laid waste to Benedick’s fickle character while he floundered in his weak disguise.
The cast worked well as an ensemble, and credit is due to their Head of Music for some fantastic numbers and strength as a choir. As individuals, Borachio’s drunken salesman was a wonderfully greasy spiv’, and watch out for the put-upon stagehand whose pithy one-liners regularly stole the show.
Set in the round, the Duke’s offered an intimate space for an audience of just over 200 people, and the cast took full advantage of the space, regularly addressing individuals, hiding behind and sitting on audience members to full comedic effect. The stage was empty but for two white ladders at opposite corners and a marbled effect floor which served well for all scenes as characters brought props and chairs on and off as needed.
As a whole, the Northern Broadsides have worked music, dance and a relatable study of human nature into each character, which is the difference between witnessing a stiff performance of a dusty old relic and what they created; A real first-hand experience of song, laughter and joy which had the audience smiling from the first “Hullo Darling”, to the brilliant northern Brass Band that played them out on a euphoric high note.
Reviewer - Natalie Bowers
on - 6/3/19
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