Katherine Parkinson and Company in the NT’s Much Ado About Nothing (c) Manuel Harlan
As someone who studied Shakespeare at both school, and also at University, you can certainly I was shocked when I saw Much Ado About Nothing was the latest Willy Shakespeare play the National were to put on. It’s one that I have had lease exposure, and wasn’t aware of — but this production made me realise that it’s a complete genius of a work by the Bard.
I felt like I’d escaped to the Italian Riviera with Katherine Parkinson (Home, I’m Darling, The IT Crowd) who plays Beatrice and John Heffernan(Dracula, She Stoops to Conquer) who plays Benedick. The feeling one feels when entering the Lyttleton theatre is one of being away, with waves crashing and the sound of sand being washed away. This instantly put me at ease, and in the setting – and does what theatre does best. It transports you to another place. Bliss!
The plot is as follows: since the 1930s, the legendary family-run Hotel Messina has been visited by artists, celebrities and royalty. When the current owner’s daughter falls for a dashing young soldier, the hallways are ringing with the sound of wedding bells. However, not all the guests are in the mood for love, and a string of deceptions soon surround not only the young couple, but also the steadfastly single Beatrice and Benedick.
It is directed by Simon Godwin and the remaining cast members include: Al Coppola, Celeste Dodwell, Eben Figueiredo, Olivia Forrest, David Fynn, Ashley Gillard, Brandon Grace, Nick Harris, Phoebe Horn, David Judge, Kiren Kebaili-Dwyer, Ioanna Kimbook, Wendy Kweh, Marcia Lecky, Ewan Miller, Mateo Oxley, Rufus Wright and Ashley Zhangazha.
Overall, this was a slick and stellar piece of theatre. It did what it intended to do, which was to entertain. I was grinning throughout, and was really impressed by the way in which the play unfolded. The only piece of direction I’d not perhaps have done myself is to put a lower-class character in a “northern” accent, which I felt was reinforcing stereotypes at times. Bits of set included hammock, and a gelato tray – which were used subtly but had the crowds roaring with laughter. As far as sets go, this one was also stand-out for its scenes where the characters sit in bathtubs, but also the way in which the action felt naturally moved along. All in all, I left with a great idea of what other works – apart from his tragedies and histories – William Shakespeare is capable of, and left wanting to delve into more of the canon of his works.
Until 10 September 2022.
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