Playful, pointed, precise and full of promising stars
Much Ado About Nothing is the first production of National Youth Theatre REP Company’s 10th season. Revised by Grime artist, poet and playwright Debris Steveson (Poet in da Corner, Royal Court), audience members are pulled into the world of Nothing Island for this favourite Shakespeare Comedy.
Nothing Island, influenced heavily by the Love Island phenomena and the manipulative nature of ‘reality’ TV, is the perfect setting for Much Ado. The insidious nature of tricks and games, quickly falling in love and power plays really marry themselves to this choice. Marry being the operative word – Hero and Claudio’s marriage being the central conflict in this drama.
The set is stark and over the top in equal measure, over the top in production areas and bare backstage, emphasising the stickered glamour. Costumes are equally diffident, contestants have few costumes – remaining in identifiable glamorous clothing or fitness gear whereas Friar’s costumes could have come straight from a couture catwalk, with the angel wing costume being the envy of every audience member, a true scene stealer.
The show starts with an annoyingly catchy song from the cast and choreography, incidentally the choreography moments are some of the least successful in the show. The dancing itself doesn’t feel out of place however the commitment/purpose is sometimes lacking from the cast. Alternatively the physical theatre moments personally don’t work for me as they feel out of place and unnecessary – the effect would be better achieved in the style of the piece. It takes a little while for the Shakespearean language to settle into the production, in the early moments it’s awkward and feels like the wrong choice. This is momentary and once our ears have adjusted we laugh and feel along through a clear and pointedly adapted text.
The incredibly talented young cast are the highlight of this production, buzzing with energy they bring the comedy to the fore.The cast are outstanding. Their energy and commitment is a joy to watch and I’d tip many of them for future success. In particular Isolde Fenton as Beatrice is a revelation, the trick with Shakespeare is to connect it to truth and every word Isolde uses makes sense, the audience are completely on her side, rooting for her to find her true love. The small issues with choices could come down to nerves or intimidation, a couple of characters being pulled into just shouting to show passion or trying too hard to be ‘Shakespearian’.
Where the show really comes alive is actually the supporting characters, no production could happen without the runners and the glue for this show would have to be Olivia Ng as George Seacole. They say there are no small roles and Olivia certainly makes the most of hers, invisible visibility, always present and completely on top of the millions of props, backdrops, and lines Oliva proves herself to be imperative to this production.
For any love island addicts wanting to get to the theatre this is the perfect production, packed full of in jokes but with a buzzing heart. Much Ado About Nothing plays the Duke of York’s Theatre from 7-10 Feb, as part of the National Youth Theatre REP Company’s 10th Anniversary Season. Tickets are available from https://www.nyt.org.uk/whats-on.