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Much Ado About Nothing – 4 Stars

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Ado

Much Ado About Nothing

Katzpace Studio Theatre

Reviewed – 15th October 2018

★★★★

“plays actively on the comic element with quick-witted interaction and lively, farcical staging”

 

Bursting with ideas and inspiration, Exploding Whale’s retailored model of Shakespeare’s most frequently performed comedy reveals a wealth of new talent. Hidden beneath Katzenjammers’ Bierkeller, Katzpace is an interestingly-located, if somewhat incommodious studio space and home to this vibrant young theatre company.

The modern corporate setting of this adaptation is an excellent choice as a venue for social intrigues as well as a vehicle for the shifting of traditional gender roles. In this version, Don Juan is a female executive and several minor characters have become women in the workplace. Director, Ellie Morris, creates beautifully contrasting moods while the story unfolds. As they arrive for work, each personality is immediately established and the spirited pace allows for an atmosphere of bustling office banter. However, it is never a mistake to take time over establishing complicated backstories and plots; even for those familiar with the play, the energy of the opening rushes through the initial set up as we learn the latest line-up. The first half plays actively on the comic element with quick-witted interaction and lively, farcical staging, though sometimes the quality becomes patchy and we lose the tension and conviction of the characters. In the second, the drama comes together and we experience an unusually powerful sense of tragic relief, sobering the mood for a dose of reality.

In this redesigned cast, the two central couples find a perfect blend of tone and attitude which place them in the present day. The nonchalant pretence of Talia Pick’s Beatrice complements Gregory Birks’ carefree, comic front as Benedick, breaking eventually in a touchingly affectionate scene. Ava Pickett as Hero and in particular, Julian Bailey-Jones as Claudio, grow with passion from starry-eyed young lovers, experiencing the powerful feelings of betrayal, anger and grief. Octavia Gilmore portrays a manipulating Don Juan and James Irving as Hero’s father, Leonato, asserts himself in the second half. There is an enjoyably quirky Dogberry from Charlotte Vassell, but many of the secondary roles are changed or omitted and the distinction and balance between their updated versions is not always clear.

A room below a beer cellar is certainly a change from one above a pub but it has its practical drawbacks. Visibility is sometimes obscured by a couple of pillars and made uncomfortable by the glaring, low spot lights. Technical aspects aside, Exploding Whale’s production captures the fundamental essence of these two couples, exploring the timelessness of their relationships as well as putting more women on the stage. The clever, contemporary setting and details, dynamic direction and wonderful acting make this a ‘Much Ado’ which spans our emotions and entertains at the same time.

 

Reviewed by Joanna Hetherington

 


Much Ado About Nothing

Katzpace Studio Theatre until 24th October

 

Previously reviewed at this venue:
Gaps | ★★★ | April 2018
What the… Feminist?! | ★★★★ | April 2018
Obsession | ★★★ | June 2018
Let’s Get Lost | ★★★ | July 2018
Serve Cold | ★★ | August 2018

 

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Much Ado about Nothing – 4 Stars

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Giedroyc

Much Ado about Nothing

Rose Theatre Kingston

Reviewed – 18th April 2018

★★★★

“an explosive, enigmatic and enticing night at the theatre”

 

Almost a triumph, Simon Dormandy’s ‘Much Ado About Nothing’ proves both accessible and aspirational. The production overflows with clarity as the clearly capable cast generally ignore Shakespeare’s iambs and focus on providing the audience with the opportunity to understand every word. This is no mean feat in a play renowned for its complexity in that so much of its dialogue is reported action, instead of demonstrated drama.

Meanwhile, it is no secret that this production’s appeal for many lies in its starry headline. Mel Giedroyc steps into her first Shakespearean role with confidence and cleverness as her aptitude in making the funny even funnier doesn’t go unnoticed. She never misses an opportunity to reward the audience with a giggle and Beatrice’s scathing wit rolls off her tongue with great naturalism. She does, however, at times appear awkward in her movement; and seems unable to remain still and truthful in some moments of drama. The production relies, for example, on simplicity, stillness and honesty when Claudio outrageously confronts Hero on their wedding day, but Giedroyc’s overacting risks the integrity of such a potentially crushing scene.

John Hopkins shines as Benedick with a hearty, loveable and yet somehow roguish performance and Kate Lamb boldly proves that Hero is not the doormat she is often believed to be. A special mention must be afforded to Calam Lynch’s Claudio. It is Lynch’s theatrical debut and his boyish innocence works in tandem with his steely conviction to illicit a truly astonishing portrayal of a young man desperate to love.

The one let down of the production comes in the form of its anticlimactic finale. As Shakespeare’s final reveal of the alive and well Hero ought to dominate and provide a joyous final scene, the audience remained as unmoved as the characters did. With so little a reaction from those on stage, it seems too much for Dormandy to ask his audience to react at all.

The production handles the comedic moments of this iconic play with intellect and bravery, but generally struggles with the more serious scenes. A bizarre dance in the second wedding scene confuses the audience, but the superb on-stage band delights them throughout. The saving grace for the play lies in its cast. The four lead actors bounce refreshingly off of each other and provide an explosive, enigmatic and enticing night at the theatre.

 

Reviewed by Sydney Austin

Photography by Mark Douet

 


Much Ado about Nothing

Rose Theatre Kingston until 6th May

 

 

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