“I did not think I should live till I were married”
In a brief programme note, Gregory Doran declares he’s “sticking his neck out” to suggest that Much Ado About Nothing may also have been known as Love’s Labour’s Won during Shakespeare’s lifetime and thus makes a novel yet inspired partnership with Love’s Labour’s Lost in an RSC double bill. Whether true or not is by and by in the end (though Shakespearean scholars will doubtless disagree) as Christopher Luscombe’s cross-cast productions combine to great effect as well as standing proud in their own right in the Royal Shakespeare Theatre.
Where Love’s Labour’s Lost was set just before the outbreak of the Great War, Love’s Labour’s Won picks up English society as peace has finally been achieved and the Christmas of 1918 might at last be a merry one and from the outset, it feels like a more fitting interpretation. Beatrice’s independence of mind having been nurtured by the freedom of being able to work; Don John arriving as a soul-weary, battle-scarred PTSD sufferer; the rush of Claudio, Benedick, even Pedro to thoughts of marriage an emotional response to an unimaginably traumatic conflict – there’s a pleasing fit to it all. Continue reading “Review: Love’s Labour’s Won (Much Ado About Nothing), Royal Shakespeare Theatre”
“The words of Mercury are harsh after the songs of Apollo. You that way: we this way”
Always a fan of a project, the RSC have paired up Love’s Labour’s Lost and Much Ado About Nothing – which they posit may have been once known as Love’s Labour’s Won – relocated the plays to an England either side of the First World War and let Christopher Luscombe loose at them with a single company, led by Edward Bennett and Michelle Terry. The RSC have hit on a cracker in uniting this pair, reuniting them in fact as they are RADA chums of old, with the wry looks and crackling tension between Berowne and Rosalind clear from the off.
A truly excellent comic actor, Bennett has the wonderful gift of always seeming on the verge of corpsing and for Berowne, it really works. The last to be co-opted into the King of Navarre’s aesthetic scheme of abstinence for him and three buddies, the first to point fingers when incriminating love poems start to appear once ladies arrive on the scene, Bennett shows us that this is a man well aware of the daftness of the enterprise he’s gotten swept up in. But he’s also an actor of much depth as he conveys the genuine sense of surprise that accompanies his own unexpected tumble head over heels and the crushing heartbreak of the play’s end. Continue reading “Review: Love’s Labour’s Lost, Royal Shakespeare Theatre”
“I’m in a maze yet, like a dog in a dancing-school”
I doubt I could have named a single Restoration comedy for you even just a few months ago but trends in theatre change as endlessly as in fashion, and I now find myself having seen three already this year. Sheffield’s Crucible Theatre get in on the act with this revival of William Congreve’s The Way of the World (ahead of Chichester who are putting it on as part of this year’s festival) from 1700, following my trips to the Donmar’s The Recruiting Officer (1706) and the National’s She Stoops to Conquer (1773).
Lyndsey Turner’s production here though is the only one of these that has taken major liberties with the play, in this case setting in the modern day where ‘Restoration’ is a new trend that has swept society. At its simplest, the plot follows the young Mirabell who is courting the delicious Millament, yet comes up against her formidable aunt Lady Wishfort who is set against the match and threatens to withhold her fortune, which many others have their eye on and are willing to commit dastardly deeds to get it. But the play is rarely that simple, and with the directorial device at play, I must admit it challenged me just a little (and made me wish I’d read a synopsis beforehand). Continue reading “Review: The Way of the World, Crucible”