By Bell Shakespeare Company
At Athenaeum Theatre, until June, 1996
Reviewed by Kate Herbert (around May 17, 1996)
There are some flat patches in this Bell Shakespeare production
of William Shakespeare’s Much Ado About Nothing.
I dare to hazard that this may be the result of the
multi-talented John Bell playing a duel role of director and Benedick, one of
the leads. Possibly this has given him less time to view the whole picture as
completely as usual.
The concept of playing the whole piece for its Italianness
has great potential, some of which is realised. However, it falls short of its
objective with token bits of Italian language introduced, slight accents coming
and going and everybody saying "Si" and "andiamo " in a
vacuum.
The stage picture and concept is of a travelling circus set
in a Renaissance tent which serves for entrances and is backed by rich velvet
curtaining. The circus quality is accentuated by the very successful comic
business and clown work of actors. The scene
in which Benedick is gulled into believing that Beatrice loves him is a gem as
is the second Constable Dogberry scene which highlights the comic skill of
Darren Gilshennan.
The ensemble is delightfully versatile and the curtain call
demonstrates the very factor which makes this company so successful; they look
as if they are having a great time together on stage just like a circus team.
Bell is colourful as Benedick and Anna Volska plays a witty
Beatrice. It is perhaps a little disconcerting to see actors of maturity
playing these young love adversaries, but maturity gives them quality of
performance.
Each season of Bell Shakespeare I am delighted by Duncan
Wass, an unaffected and gifted performer.
Vic Rooney brings grandeur to Leonato, Ivar Kants is a
stately Don Pedro and David James is naughtily villainous as Don John. His style of direct complicity with the
audience could have been utilised elsewhere.
Music by Jonathon Maher and David King effectively used both
an Italianate and circus influence but the two songs, although beautifuly
rendered by tenor, Craig Illiot, were inappropriately Andrew Lloyd Webber in
style.
The ensemble is delightfully versatile and the lively
curtain call demonstrates the factor which makes this company so watchable;
they have a great time -just like a circus.
KATE HERBERT
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