Much Ado About Nothing

Set just after the end of WW1, HD&OS’s production of Much Ado About Nothing gave scope for feisty females to speak up for themselves after enjoying greater freedom whilst their men were away fighting for their country. This slight twist on the timeline worked beautifully and brought the whole silly story of gossip and politics up to date.

HD&OS are well known for their productions of classic drama in unusual settings and in this production, director Sarah Cornell transposes the action to the autumn of 1918.

Julie Markey played Beatrice with huge gusto as the kind of free-spirited, quick-witted, straight-talking warm young woman that lovely, giggly Hero (Liz Smith) needed in her dealings with the other sex. Hero’s first encounter with Claudio (played by David Stokes) established her as a charming, highly susceptible young lady in need of a good friend like Beatrice.

Jim Markey’s Benedick was a good foil for Beatrice; the electricity between them overcoming his prejudice against marriage in the end. Their witty banter and occasional flashes of anger are high points in the drama. Jim Markey’s acting experience conveyed the kind of brooding tetchiness that was needed for the comic characteristics of this misogynistic character.

Roger Slater gave us a gracious Leonarto with a naughty twinkle in his eye. Proving how the character so enjoys playing games. As did Andy Roberts as Don Pedro and Martin Broyd as Antonio.

Mark Huamann was suitably nasty as the “bastard” prince. Plotting mischief, attempting to prevent the wedding, embarrassing his brother, the Prince and wreaking misery on Pedro's friends Leonato and Claudio.

The all-female Suffragette Watch was an inventive interpretation and I enjoyed the dialogue between the ladies which was quirky and entertaining.

The occasional musical accompaniment from Paul Long as Balthazar was tuneful and endearing.

As well as the big picture it is the little details that matter, and although not perfect, there was very little to be criticised, either in the acting or the direction.

The open set worked well and the lighting denoted time changes.

Costumes were of the period but I would have liked the men to have polished their foot wear. Shiny toecaps being the order of the day.

For me the director’s idea really worked, with the Edwardian Aristocracy and their relatively carefree lives.

In this time of war centenary commemoration this was brought into sharp focus with one of the closing lines. When told that the enemy troops were gathering nearby, Benedick says ‘We will worry about them tomorrow, tonight we will dance’.

A good production all round.

Thank you for your hospitality

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