June 9, 2010
Billed as “Shakespeare’s wittiest comedy”, this production of Much Ado About Nothing doesn’t disappoint. Packed with quick-paced repartee, malapropisms aplenty from the excellently-played Dogberry and comical facial expressions, the Oxford Triptych Theatre’s performance captures the essence of Shakespeare’s comedy.
The play tells the story of Don Pedro and his officers Claudio and Benedick returning from war (though in this version it is from World War II to a liberated Paris), Claudio falling in love with Hero, Don John’s evil plotting and all that follows. The show is, however, stolen by Beatrice and Benedick, superbly played by Victoria Coleman and Will Hatcher. Their quick-witted exchanges and consistent levels of energy and passion captivate the audience and mean that they overshadow the others.
In fact, some of the acting is disappointing, particularly in comparison, though Colin Burnie’s experience shows in his delivery of Don Pedro. Some of the more poignant scenes seem half-hearted and it is the comical scenes that are best delivered. The Watch’s comic ineptness on as they apprehend Borachio and his ally is, for example, excellently captured by Moya Hughes as the female Dogberry.
Though the shift in setting from Messina, Sicily to post-war Paris is slightly confusing and adds little to the play overall, the scene and costumes are aesthetically pleasing and the tricolore flags prove an excellent hiding place for Benedick to eavesdrop on Don Pedro and Claudio.
The production is made all the more special by the fact that it is the final play to be performed in the OFS Studio before it closes for redevelopment. Although its cramped seating will not be missed by audiences, theatre companies, student, professional and amateur alike, will lose a valuable city-centre venue. This production does, however, provide a fitting note on which to end, offering an enjoyable combination of Shakespeare at his best, a modern twist, (mostly) excellent acting and evident passion and enthusiasm.
The play tells the story of Don Pedro and his officers Claudio and Benedick returning from war (though in this version it is from World War II to a liberated Paris), Claudio falling in love with Hero, Don John’s evil plotting and all that follows. The show is, however, stolen by Beatrice and Benedick, superbly played by Victoria Coleman and Will Hatcher. Their quick-witted exchanges and consistent levels of energy and passion captivate the audience and mean that they overshadow the others.
In fact, some of the acting is disappointing, particularly in comparison, though Colin Burnie’s experience shows in his delivery of Don Pedro. Some of the more poignant scenes seem half-hearted and it is the comical scenes that are best delivered. The Watch’s comic ineptness on as they apprehend Borachio and his ally is, for example, excellently captured by Moya Hughes as the female Dogberry.
Though the shift in setting from Messina, Sicily to post-war Paris is slightly confusing and adds little to the play overall, the scene and costumes are aesthetically pleasing and the tricolore flags prove an excellent hiding place for Benedick to eavesdrop on Don Pedro and Claudio.
The production is made all the more special by the fact that it is the final play to be performed in the OFS Studio before it closes for redevelopment. Although its cramped seating will not be missed by audiences, theatre companies, student, professional and amateur alike, will lose a valuable city-centre venue. This production does, however, provide a fitting note on which to end, offering an enjoyable combination of Shakespeare at his best, a modern twist, (mostly) excellent acting and evident passion and enthusiasm.