Much Ado About Nothing

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Dean’s Yard (Westminster Abbey)

Well of course my first Shakespeare in over a year was Much Ado. Are you even remotely surprised?

Such excitement there was too about this show – two helicopters hovering overhead, and the Houses of Parliament even put on a firework display near the end. The chaos (both scripted and additional) was ably managed by a cast who were universally excellent at making themselves heard and felt*. Not only that, but they were naturally funny – managing to get a laugh out of the audience when urging us to buy programmes before the play had even begun – and Beatrice’s corpsing when Benedick stopped mid-scene was entirely forgiveable, and didn’t hold the action up since we were waiting for that damn helicopter to move off in any case.

Not now, Parliament, not now!
Not now, Parliament, not now!
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I am to blame to be thus waited for

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What a year (and a bit) it’s been. I have tickets booked for an actual play in an actual theatre for the first time in – ooh – eighteen months? And the hope that that might actually happen has made me realise that I have been hanging on to reviews of the few shows I did get to in 2020 for far too long – so here they are, if somewhat truncated!

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A Midsummer Night’s Dream (2)

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Bridge Theatre

Oh my giddy aunt. I have had a most rare vision, past the wit of man to say – except that that’s the job I’ve set myself! It was a wonderful shared vision too – the delight of promenading at the Bridge Theatre (not lessened over time) is at least partially in its communality.

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Pericles (2)

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Globe Theatre

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This is a slight apologia of a review of Pericles – this is the first time ever I have very little recollection of the production, and no contemporaneous notes to carry me through. No disrespect meant to the cast – I do recall an engaging and thought-provoking production – and rest assured I am more assiduous in my note-taking (as well as more determined to write things up in a timely fashion).

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Richard II

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Almeida Theatre

I need to be a bit careful here to separate my impressions of the actual show from the (entirely serendipitous, I am not that good at planning) Q&A session with some of the cast and the Assistant Director afterwards, in terms of what I took away from what they did.*

The most important thing to note is that this production is stripped back – in almost every sense. A neat 100 minute running time (no interval) was just the start – the actors performed in a square box, riveted metal, which didn’t even have a single door (they all stayed on stage the whole time), the only props were some six or so buckets (about which more later), the costumes were simple shirts and trousers in uniformly dark colours, and there was little (but not quite nothing) in the way of sound and lighting effects.

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