Flung into the musical romance of Laurel Canyon, The Shakespeare Society’s ode to the 70s delivers on all fronts a punchy, heartfelt, and unabashedly fun rendition of Much Ado About Nothing
While some cupids kill with arrows, and some with traps, this cupid kills with immaculately curated design, the sprinkling of live music, and embodied performances that leave you wondering if the bard wrote this comical chaos while listening to Mama Cass.
Directors Madeline Brown and Marina Funcasta, assisted by Anna Simurda, deliver a production brimming with the warmth and joy intended, confidently pulling off the funk and nonchalance of the 70s. With every element attended to with obvious care and consideration, particular credit must be paid to the production’s design. Ingenuitive set and meticulously thought out costume bring this production to life, with every detail – down to the records on display, and the cast’s makeup – keeping the audience lounging in the Canyon. Lighting and sound add yet another layer of refinement, with minor microphone issues failing to distract the audience too far from the action.
A unique element of this production is the input of live music, led by musical director Laurie Macfarlane. Anytime the live band replaces musical tracks, the authentic atmosphere is heightened. Keeping the band onstage for longer may have lessened the slight feeling of interruption that came with these interludes, however, keeping the audience immersed in the intended musical world throughout.
A deep appreciation of the text is evident in each and every performance in this 21-strong cast. Leading with energy, Verity Mann and Benedict Harrison embody Beatrice and Benedick with professional ease. Mann is an instant hit as she struts on stage, delivering Beatrice’s wit and self-reliance in such a way that the audience couldn’t help but cheer at her emboldened ‘If I were a man’ speech. Complimenting this in every way, Harrison’s performance is an explosion of animated charisma. Beyond their quarreling, Mann and Harrison facilitate one another’s move to vulnerability and romance expertly, you can’t help but root for them. The other lovers in this tale, Hero and Claudio, portrayed by Francesca Carter and Ryder Hartley, are the picture of earnest devotion, demanding the audience’s sympathy and laughter. Carter provides a brightness well suited to Hartley’s understated charm. The youthful portrayals of the play’s protagonists is made all the more meaningful alongside Ingram and Wollgast’s assertive portrayals of Leonato and Antonia. Vibrant interpretations of Maragret (Dé), Ursula (Revell), and Balthasar (Laing) prove this is a production of dramatic equals, with every actor poised and ready to deliver; the audience is not once questioning their conviction or ability. A moment must be taken to appreciate Eric Parker’s flawless and flamboyant Don Pedro. Decked in leopard print, heeled boots, and unwavering assuredness, Parker orchestrates the plot and cast in a manner befitting of Don Pedro’s station. Antagonists Don John, Borachio, and Conrade are transformed into an alt-rock crew by Cameron Broadly, Fraser Murray, and Sam Gearing. Each skillfully blends an air of petty indignation with pure chaotic meddling, holding the audience on their last word and driving the plot to its extremes. In contrast, Morris and Leeb as Dogberry and Verges, lead efficacious comic relief with their law-keeping assistants played by Mottahedan, Ward, and Lahkany. Dylan Kaeuper’s hillbilly-come-hippie Friar – accompanied by graceful groupies Duda and Oppong – brings a welcome respite from the play’s tensions, offering a well balanced hilarity to offset its conflicts.
This production exemplifies the fun in Shakespeare’s chaos and confusion. Enmeshing this story amongst the music, fashion, and laid-back energy of the 70s paid off in every way, concluding with compelling groove. The University of Edinburgh’s Shakespeare Society deliver an undeniable charm in this colourful, sequined rendition of Much Ado About Nothing, running from the 4th-8th of February at Pleasance Theatre.