Shakespeare as you may not have seen it before: set in post-World War II Britain.
Northern Broadsides in collaboration with New Vic presented their spring comedy of William Shakespeare’s, Much Ado About Nothing. A co-production directed by Conrad Nelson. This was last performed by the company in 2000. Founded by Barrie Rutter OBE in 1992, Northern Broadsides create performances that primarily focus on Shakespeare but also encourage the writing of new texts. They always like to put a Northern stamp on a project they are working on and that always shows.
It has been a terrible six years of war, it is time for the soldiers to return home from the fiery battlefields. Return to a home of romance, dancing, and laughter - the best medicine. Benedick (Robin Simpson) and Beatrice’s (Isobel Middleton) relationship is as explosive as No Man’s Land. They just don’t get along as they fire insults and comebacks at one another, but “dig-dig” a little deeper and we make a victorious discovery. They are in love with each other. But, their egos won’t allow them to admit it. Love’s young dream, Hero (Sarah Kameela Impey) and Claudio (Linford Johnson) fall in love at first sight. Meanwhile, faithful friends conjure up a plan for romance and a bitter brother plots destruction. Will true love avoid the bullying bullets of gossip, and prevail?
Simpson’s Benedick was spirited and clown like. It was like he was looking for fun and joy in life after the Second World War. Beatrice, played by Middleton, had a long list of witticisms at the ready for any man who underestimated or undervalued her. Middleton conveyed her passion, stubbornness, and cleverness. The relationship between them was convincing.
Portrayed by Impey, Hero had an air of innocence about her but also a flirtatious playfulness. This complimented the youthfulness of Johnson’s Claudio, albeit in a confrontation later in the play we got to witness a more forceful and mature side to him. The rest of the cast were: Richard J. Fletcher, Rachel Hammond, Sophia Huntfield, Anthony Hunt, James McClean, Matt Rixon, Heather Phoenix, David Nellist, Simeon Truby, Robert Wade, and Andrew Whitehead.
The performance style of the company was as you would expect from a Shakespeare comedy. Everyone gave dynamic and animated performances, however there’s a thin line between over the top and over doing it. Some actors over played their role or for others it was how they said certain words. For example: when some men spoke something in a high-pitched voice it didn’t emphasise the comedy in the situation, it undermined it and it no longer became funny. At one point, the interaction with the audience member could have been executed better, it felt rushed and too spontaneous. Furthermore, the slow-sweeping servant, who broke the fourth wall claiming to have trained at RADA and wasn’t happy to have been given a minor part, felt forced into the production. Surely, this was about Shakespeare and not their own contemporary jokes?
A photograph of the British countryside on a printed cloth provided the backdrop but the incorporated entrance/exit design in the middle looked messy and haphazard. The bunting was only used once in the play, I thought they might have used it at the happy ending too. However, the WWII Propaganda and painted portraits of characters made for a nice touch, reinforcing the context surrounding the production. Sadly, the set felt too small to accommodate everyone dancing onstage like in the masked ball scene.
Taking place in a newly post-World War Britain, there was a glimmer of hope in the sun-filled lighting design: an optimistic look to the future in search for love and happiness. As you would expect, the dresses, uniforms, and costumes reflected the time period.
“Don’t Sit Under The Apple Tree” was one of two notable war time songs in the show, mirroring the theme of playful romantic love. The Shakespearian song, “Hey Nonny, Nonny!” was given a noteworthy Barbershop Quartet style modification. Every cast member was in fine voice - in range and in harmony. Although, the ending of music and marching didn’t feature a repeat of the company’s singing and felt anti-climactic.
Summary: On the whole, the interpretation, singing and acting was good, on the other hand the production was let down by sporadic over-performing or forced comedy and an impractical set design.
Reviewer - Sam Lowe
on - 7/5/19
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