Much Ado About Nothing

by William Shakespeare
adapted by Sarah Newbury

PREVIEW
Surrey Mirror - The Guide   2 March 

am dram

Reigate Amateur Theatrical Society (RATS) returns to the Harlequin Theatre, Redhill, this month with Shakespeare's much-loved comedy Much Ado About Nothing.

The play will be performed in the studio of the theatre and promises to provide a delightful night's entertainment.

For those that need a reminder, this classic Shakespearean comedy opens in the court of Messina, as Don Pedro, the prince of Aragon, his friends Claudio and Benedick, and his brother John return from war.

They are welcomed by Leonato, governor of Messina, and his daughter, Hero, and niece, Beatrice.

Claudio falls in love with Hero, Benedick and Beatrice open a war of wits and hilarity ensues as Don Pedro and company create a plan to trick Benedick and Beatrice into falling in love with each other. 

Meanwhile, John's resentment of Pedro's position and popularity motivates him to ruin the approaching wedding of Claudio and Hero...

In this RATS production, a cast of 10 performs Sarah Newbury's new adaptation of the play.

They are promising a wonderfully fresh, witty and beautiful version of this much-loved romantic comedy.

The show runs from Thursday March 16 until Saturday March 18 at 8pm.

Tickets, prices £8.50 (£7.50 concessions, are available from the box office on 01733 765547)

REVIEW
Surrey Mirror - The Guide  23 March 

Reigate Amateur Theatrical Society (RATS), The Harlequin Theatre, Redhill.

Reviewed by Derrick Graham

SHAKESPEARE'S pun on the word 'nothing' has quite got lost over the centuries as in his time it was 'noting' and referred to overheard whispers - the whole basis of the plot.

RATS' production, in the Studio Theatre of The Harlequin, was concentrated on to a small 'stage' area at the foot of raked seating.

Shakespeare wrote his plays for such a setting relying on props and costumes to complement the action and his dialogue. But he also wrote that 'clothes maketh the man' and in this production that was what was missing.

All the men were in fawn trousers and short-sleeved shirts for Act 1 and black trousers and shirts for Act 2. Having a revolver tucked into their back pockets hardly indicates they are soldiers coming back from a battle and spiky-haired Craig Phelan had nothing to show he was the Prince of Aragon, other than to occasionally be called Prince.

Status means much to the plot of this play and whilst setting it in modern dress could be acceptable, not knowing who and what the characters represent, means it lost much of its impetus.

Despite these shortcomings, the play was brilliantly acted, with two outstanding performances from Chris Hepher as Leonato, Governor of Messina, and James Croft as Lord Benedick. His determination to remain a bachelor is weakened by meeting Beatrice, the Governor's niece, and whilst denying finding him attractive, she too changes her mind in the end. Alyson Coulson in this role got across the indecision well, although there were problems with projection when she turned upstage to speak.

Leonato's daughter, Hero, has the main love interest as Lord Claudio (excellently played by Sebastian Bance), one of the Prince's officers, falls madly in love with her as soon as the group arrives to visit the Governor. Penny Tofield portrayed Hero perfectly, although the 'girl talk' chatter about the men lost the definition between Hero and Beatrice who are family and Margaret (Sally Cranham) and Ursula (Sam Jamieson) who are gentlewomen attendants. The mechanics of the plot is lost, therefore, on why Margaret should be willing to impersonate Hero being with a man in her bedroom, on the eve of her wedding.

Stephan Ticknell did at least get a costume as the Friar who conducts the wedding. He had a very croaky 'elderly' voice, better projected than when he earlier played Borachio, a follower of the evil Don John (Damien Thomas), bastard brother of the Prince. The ladies' dresses were of a style that was ageless and looked perfect for the parts with a fine wedding dress for Hero.

The whispering was well contrived within the minimal setting, with the lovers overhearing their friends discussing how they are each attracted to the other.

The play lost little by the omission of seven of the characters and doubling up by two of the cast. The humour of Dogberry, the master constable, was hardly covered by some of his lines being spoken off stage, but this section and a few other cuts brought the running time down from three hours to two.

In the days of Shakespeare's Globe, audiences did go out for a glass of ale, but one hardly expected three of The Harlequin's patrons to get up in the middle of the play and do so, with all the disturbance that caused. At least they were not allowed to resume their seats. 

 

 

MEMBER REVIEW

Reviewed by Oli Cownden

RATS Member Review, Saturday 18 March 2006 Oliver Cownden

After what seemed to be a slightly nervous start the actors soon found their parts and settled into the characters well. The three day run at the Harlequin was sold out and the cast directed by Sarah Newbury did not fail to deliver a thoroughly entertaining evening’s performance.

My only real criticism would be that at times the lines were delivered too fast and the play could have been better served from being in the main theatre. The enthusiastic applause that the cast received from the packed studio at the end was well deserved. I enjoyed Much Ado, it was a good performance delivered from a young and up and coming cast under the sound and capable stewardship of the Director Sarah Newbury.

Sebastian Bance, Claudio, played the full gamut of emotions required of him well, delivering an intelligent performance for such a young actor. It was clear that he understood what he was saying and this was conveyed in his performance.

It was very obvious from the offset that Beatrice was a perfect role for Allie Coulson and one she was made for. A slightly nervous and fast initial delivery soon gave way to a spot on performance. She drew humour from her part beautifully and delivered her character with real credibility.

I enjoyed James Croft’s performance of Benedick; he gave a good interpretation of the role and delivered humour well. Whilst at times he did race the delivery of his lines, he gave a good performance; it was obvious that he enjoyed the part.

Chris Hepher delivered a mature and well balanced performance of Leonato. He delivered his lines with warmth and humour and brought a steadying influence to the play slowing it down to allow the audience time to understand what was going on.

Penny Tofield played Hero with great expression and delivered a natural and vivacious performance. The scene with Ursula and Margaret where she was excitedly getting ready for her wedding day was a joy to watch. The scene where she had been rejected by Claudio at the altar was very moving and you really felt that she had her heart broken.

Craig Phelan played Don Pedro with good effect, his distinctive voice and presence on stage made a convincing Prince of Aragon. He delivered the power and influence his part required with credibility.

Damian Thomas gave a thoughtful and at times menacing performance as Don John. This was a good and sound performance from a new addition to RATS and his comic turn at the end as the officer (Dogberry) was well received by the audience.

Stephen Tickell played three roles; Messenger, Borachio and Friar. He delivered a sinister performance convincingly as Borachio and then extracted a joyful humorous performance from the Friar. Clearly an experienced actor, Stephen delivered the full meaning from his lines well.

Although a small part, Sally Crantham delivered a charismatic performance as Margaret, her delivery and timing was spot on. She sang a beautiful and moving duet with Sam Jamieson at the mock funeral of Hero, one of the highlights of the show for me.

Sam Jamieson as Ursula gave a very vivid and fine performance with wonderful expression in the scenes that she was involved with. She too had a beautiful voice and complimented Sally well in the moving duet and scene at the grave side of Hero.

The only thing I wasn’t sure about were the guns and could not quite understand why they were in the guys’ pockets.

I particularly enjoyed the Ball Scene, although a little rushed it was a nice set piece that was obviously enjoyed by the actors. Another of the highlights were the scenes between Beatrice and Benedick, they conveyed the initial awkwardness of the lovers well and it was fun to watch their romance unfold.

This edited and fresh version of Much Ado was a credit to the Director Sarah Newbury and the performance she drew from her a young cast was entertaining and a great success for Rats.