GUEST REVIEW- Much Ado About Nothing

12th July 2019
Orchard Tea Gardens, Cambridge 

Rating: 4 Stars 

I must confess that after sitting through a particularly horrible eye gouging production of ‘Much Ado About Nothing’ in 2018, I took my seat in the charming Cambridge Orchard Tea Gardens with a considerable amount of unease. However Drama Impacts production of one of Shakespeare’s finest comedies is light years away from the theatrical car crash I witnessed last year. Directors David Houston and Richard Llewellyn clearly know their craft, and as a result have produced a truly gripping piece of theatre devoid of gimmicks. With no set, and very few props, Drama Impacts nine actors effortlessly bring to life the Bards tale of love, wit and deception.

For those of you who are unfamiliar with the play, let me give you a quick synopsis to whet your appetite. Returning from the wars, the prince of Aragon Don Pedro accepts an invitation from the Governor of Messina to stay in his household for at least a month. However when Don Pedro’s friend, the young Count Claudio, suddenly falls for the Governors daughter Hero events suddenly take unexpected dramatic and comedic turns. With the princes scheming illegitimate brother Don John planning to sabotage the young couple, and Hero’s cousin Beatrice engaged in a constant battle of wits with the Princes man Signor Benedick, it is not long before the play descends into enjoyable madness.

Bringing all of this to life in an unconventional performance space would be a challenge for any theatre company, but Drama Impact have a pleasing ability of making the quirks of their outdoor venue work to their advantage. In a play revolving around overhearing and eavesdropping Houston and Llewellyn hit the nail on the head perfectly with their staging. It was incredibly pleasing to spot characters spying on their fellows from behind trees, suddenly bursting through thick bushes, or in one memorable moment drunkenly waking up amongst the audience. The audience are treated to a dramatization which defies rigidity and flows almost seamlessly before them, keeping us on our toes for the unexpected whilst entrancing us.

But what of the actors? Without question every single performer was exemplary. This isn’t a mixed bag of rag tag actors, but rather one performing body. The performers compliment each other better than any other cast I have seen in a long while. Houston is incredibly charming as Signor Benedick, his rakish humour is mixed perfectly with a bubbling intensity that flashes out during the more serious scenes. There is something innately likeable about Houston’s Benedick, however he certainly has his hands full with the fiery Beatrice (played by Joanna Nevin). Nevin is just the personification of pure wit as Beatrice, as she engages Benedick with everything she has. The light and shade of her performance is RSC quality, and one which deserves a bigger stage. Seeing these two skilled Shakespearean performers working off each other is a theatrical treat worth savouring.

Further standout performances come from young lovers Claudio and Hero (Played respectably by Oliver Thorn and Niamh Handley-Vaughan).  This young couple are portrayed with all the truth one could hope for. Handley-Vaughan’s sweetly innocent Hero is instantly loveable, as is Thorns dashing yet romantically awkward Claudio. Seeing this couple get together, only to being nearly torn apart is both endearing and heart breaking in equal measure. The plays first marriage scene, where Claudio rejects Hero under the influence of Don Johns slander, can only be described as an acting masterclass. You could practically hear a pin drop in the audience.

Speaking of Don John, we all love a good Shakespearean villain and Harry Harding doesn’t disappoint in the role of Don Pedro’s illegitimate brother. His sneering persona and ever watchful eyes, are enough to give any audience chills. I have seen too many people stray into pantomime villain territory whilst attempting this role, but Harding pitches his performance at just the right level. The same can also be said about his take of the character of Verges, a bumbling member of the city watch. His timing and ad-libbing are that of a comic genius in the making, as he unwittily exonerates the young Hero.

Joining Verges in providing comedic relief is master of the watch Dogberry, played by co-director Llewellyn.  Only slightly less bumbling than his subordinate Verges, Dogberry is instrumental in the fates of the young romantic leads. Whilst Houston brings to mind John Cleese at his finest, Llewellyn is unquestionably Michael Palin in his portrayal. Everything from his statue and fantastically elastic expressive face, to his slow northern drawl seems designed to create laughs. Llewellyn’s portrayal of Don Pedro is also noteworthy for its strength and authorial control.

However, my personal favourite performance of the play came from Jenny Kilcast, who plays Margret the Waiting Gentlewoman to Hero. Its always a shame when Shakespeare’s smaller characters are lost behind the shadows of the leads, but such is Kilcast’s skill that you can’t help but be captivated by her. Even when she is silent her cheeky, flirty and mischievous nature effortlessly make her the most memorable of characters. When she does speak she unquestionably steals whatever scene she is in.

Hotly on Kilcasts quick heels is Nicholas Benjamin, whose portrayal of Borachio (Don Johns man) perfectly compliments her version of Margret. His swaggering strut and constantly cheeky face provide us with an endlessly enjoyable anti-hero. I particularly like the fact that Benjamin pays homage to his characters name by becoming increasingly more drunk throughout the play (Borachio translates to Drunkard). Benjamin also has his own hard-hitting moment, during an extremely emotional confession scene. During this scene Benjamin shows off his serious acting chops, revealing that he and Don John were responsible for Hero’s disgrace, adding an amazing amount depth to his character.

When Kilcast and Benjamin meet on stage the result is an extremely well thought-out and amusing partnership. Although they only share a handful of lines together, the chemistry between these two actors is such that we believe that they have an untold history. As a result, Margret and Borachio are now my favourite Shakespearean couple.

Drama Impact are unique in the sense that they give all of their characters equal development. Even the character of Leonato, the Governor of Messina, is portrayed with so much raw passion by Christopher Poke that he stands out as much as any other cast member.

I honestly hope that this play continues to pull in audiences, as it certainly deserves them. Even the performances short comings are mere footnotes. I have to confess that I wasn’t blown away by the modern soundtrack, and the pace of the performance seemed to fluctuate wildly throughout the second half. There was also the common problems with actors occasionally crashing their lines over each, or not being audible if they turned away from the audience, but these are all minor issues which I am sure will be ironed out in future performances.

Drama Impacts ‘Much Ado About Nothing’ is one of the most enjoyable productions I have had the privilege of watching in a long time. A must see for any Shakespeare lover, or anyone who is after an evening of wit and drama. Thank you Drama Impact for renewing my love of Much Ado!

John Randall