The joyful dance sent us all skipping home!
Chelsea Walker’s production is fun, played to ring every ounce of humour from the plot and in this succeeds brilliantly. From the moment the letter announcing the arrival of Don Pedro and his men is rushed, held high, through the pit to Laertes, overheard from the balcony by Hero and Beatrice to their obvious delight, the enjoyment begins, writes Liz Carlin.
The stage is brightly lit, the atmosphere is enhanced by the musicians, ably led by Zands Duggan, who play a significant part in the action; there were drum rolls to add to the tension in a cartoonish fashion, lively dance music to accompany the dancing and a beautiful cello solo (Zosia Duggan) for Hero’s funeral.
All the cast were excellent, but Ken Nwosu as Benedick deserves a special mention, as does Pippa Dixon as Beatrice. These are gifts of parts for any actor, but they rose to the occasion and spat out their taunts with sparklingly clear diction, teasing each other and the rest of the cast, to the constant delight of the audience. There was regular spontaneous applause and Beatrice’s dramatic ‘Kill Claudio’ causes an explosive roar of shock and amusement from the pit.
The whole company held their own in this helter-skelter performance. The Watch opened the action after the interval when they had apprehended Borachio boasting of the plan to entrap Hero. Dogberry’s hilarious malapropisms and his total incompetence in his role of examiner lighten the tone after the close of the first half when Hero’s supposed infidelity is disclosed, her claims of innocence ignored and the cruelty of the men towards her. Somehow amidst all this hilarity, the audience is persuaded to forget the misogyny.
Hero, beautifully played by Assa Kanoute, gives a much more spirited portrayal than the usually passive character we are used to. This is particularly seen in her plotting with Margaret (Mathilda Baines) to let Beatrice know that Benedick loves her, and in her contemptuous dismissal of Don John when his villainy is revealed. One small cavil: I wish that Claudio had not pushed her face down into the cake; white cream on her face was an unnecessary distraction from the potential tragedy.
There is some splendid ensemble playing: the dance with the splendid animal masks, each one character-specific (Don John was a serpent, Benedick a bull), the scene with the white, flower-bedecked cart giving a prop behind which, and in which, Benedick hides whilst Laertes, Claudio, and Don Pedro discuss Beatrice’s love for him. The movement director, Aline David, did a good job moving everyone around with such agility and at such speed.
There is clever business throughout, showing plans being overheard, the balcony being useful here. Margaret listening to Borachio revealing what he has done and becoming more and more appalled at her part in it is particularly effective.
But it is the love story that prevails, the kisses between the four main protagonists giving rise to a roar of approval and the joyful dance at the conclusion sent us all skipping home!
Shakepeare’s Globe until October 24th.
Booking and full details: https://www.shakespearesglobe.com/whats-on/much-ado-about-nothing/
