MUCH ADO ABOUT NOTHING
MUCH ADO ABOUT NOTHING, Bell Shakespeare Company at the Drama Theatre, Sydney Opera House, April 8-May 14, 2011, then touring to Canberra and Melbourne
TONE AND STYLE are – almost – everything for a Shakespeare comedy andJohn Bell’s new production of Much Ado About Nothing signals both these elements from the off through the hilariously awful palazzo-bar-billiards hall setting (design Stephen Curtis). Once it was grand, with frescoed walls telling of an aesthetic and beauty that is completely lost on its present inhabitants. So indifferent are they to its origins that at some point – during the 1970s by the look of it – an entranceway was hacked through the delicately painted walls and a ghastly concertina paneled room divider inserted. Meanwhile, cracks in the frescoes (earthquake perhaps?) have been roughly cemented and the lower parts of these once priceless treasures covered in gruesome oxtail soup-coloured tiling. These floors and walls, so near and yet so painfully far from terracotta, play host to assorted bits of pub sporting equipment, a sad piano and some chairs (rickety wooden or sagging chrome frames and probably refugees from defunct cafes). It all instantly suggests a dusty, boring town somewhere in southern Italy. And of course, Shakespeare set his play in Messina!
The dreariness of life here – where the only excitement is the occasional murderous stoush between local dudes and the machinations of families manouevring for the best marriage prospects – is symbolized by the character of Beatrice (Blazey Best). She is a sharp, smart, gorgeous woman who is so bored and frustrated by her life and ordained future her pain is almost tangible. She oozes intelligence, ennui and cynicism and she is perfectly mirrored in Benedick (Toby Schmitz) which is why the two clash so badly; and why they’re destined for each other, if they can ever stop bickering long enough to allow the sparks to ignite into full blown conflagration.
Best and Schmitz are two of the more cerebral and dynamically physical actors around; both are capable of almost anything when given the challenge. Both possess the qualities of stillness and concentration that draw the eye – their characters are internalized and grounded, their thoughts become visible. When they do move or speak they command attention and propel the action, seemingly without effort.
And then there’s the rest of a very fine company, merrily tripping about post-WW2 Sicily where cuckoldry and ownership (of women and property) are as dangerous and vital to life as they were in Shakespeare’s day. Bell veteran Sean O'Shea is campily reptilian as the petty villain Don John, whose scheming causes the classic wedding day humiliation and “death” of Hero (Alexandra Fisher) and the outing – as an immature twit –of her lover Claudio (Sean Hawkins). Class performances too from other Bell familiars, Robert Alexander as the avuncular Friar Francis, Tony Llewellyn-Jones as man about Messina, Leonato; Nathan Lovejoy and Arky Michael as local worthies-cum-sleazebags, Borachio, and Antonio.
A welcome and delightful newcomer to Bell is musical theatre-cabaret star Tyran Parke. While he’s probably been cast because of an angelic tenor voice that makes emotional profundities out of Elizabethan “Hey nonny nonnies”, he’s also a fine actor who proves that he too can step up to the Shakespearean plate, given half a chance. Last but, of course, not least, Max Gillies makes a jewel of the posturing fool Dogberry by playing him with earnest pomp and circumstance, leaving the laughs to rise naturally from his lugubrious self importance.
It’s a beautifully paced show that has the solid rock of John Bell’s direction as its foundation. His confidence and long experience with the text and the play’s raison d’etre means the cast is able to let go and fly. The result is a lightness of touch and spirit that’s exhilarating and joyful. Much Ado About Nothing is exactly that and so much more besides: such fun, pizzazz and lots to think about besides. Miss it not.
SAVE THE DATE! - TUESDAY 19 APRIL, 9.20PM EST
Bell Shakespeare post show Q&A live streaming: for the first time ever Bell Shakespeare will stream this event live on our website. Make a date with your computer and participate from wherever you are!
The post-show Q&A will follow the performance of Much Ado About Nothing at Sydney Opera House on Tuesday 19 April.
If you have a burning question for director John Bell or the cast, you can send it through ahead of time via e-mail or using the hashtag #bellQA on twitter.
