Opening Night Review :-
The Theatre itself is the very image of sophistication and ornate beauty with the pale pastel blue and cream theme, laced with gold, sculptures in antiquated style and a ceiling that would make Michael Angelo proud and causes much less neck ache with its more diminutive proportions. It is intimate and welcoming. The curtain cascades down in sky blue, the building smells of love, passion and age and the seats are filled with eager patrons and probably quite a few whovians!
‘Much ado about Nothing’ – ‘Two star-crossed lovers’ Benedict and Beatrice are NOT; perhaps two sparring pragmatists, duelling with scabbards crossed, though they are more likely to cross wits or cross-dress, in Benedict’s case, for an impious charade. The set design is neoclassical and grand with marbled white flooring and pillars and a Mediterranean backdrop to establish the scene. The curtain rises to reveal a relaxed, sun bathing and casually dressed Beatrice (Catherine Tate) and an aerobicising Hero to modern, strong beated music.
The crowd goes wild – yes a strange metaphor for Shakespearean theatre – on the arrival of the sexy smooth Tennant in a golf caddy car with high spirited horn. He has definite ‘5-o’clock’ shadow for ruggedness and is wearing stylish sunglasses. Benedict and his compatriots are arriving at their good friends, Leonato’s after an undefined war and are clad in crisp, white military regalia. Love a man in uniform!
The script is faithful to the original Shakespearean which praises its author with natural modernity and biting wit. Chronologically, the scenes have a distinct 80s feel and the metered songs are set to contempory up-beat rock music. There is a focus on visual slapstick comedy which, during the false love testimony scenes, includes Catherine squirming around mid air on a painter’s pulley and Tennant layered in supposed white paint, forgetting his hand slipped folly and plastering the stuff all over his wild, full hair, face and summer clothes. The effect, with two such strong, energetic and facial expressive actors, is hilarious though one does feel that perhaps the hi-jinxes detract from the genius of the penned script in favour of wooing audiences to fits of giggles that drown out the dialogue. Certainly far from a traditional RSC production.
The characterisation of Benedict and Beatrice play on the actor’s natural crazy charisma as egregious, energetic and demonstrative fools with such comfortable banter and exaggerated peevish insults. There’s a lot of Catherine’s comedy style and David is cavalier and teasing with innate magnetism and presence. However what I really loved was the vivid flip to intense drama in the wedding scene when somehow they managed that mix of serious acting and uncomfortable humour as the dialogue is both potent with impetus and silly and ironic with the pre-determined personalities that the audience is half laughing and half crying.
This was opening night, the first preview but ostensibly very little went wrong, a dropped beer can, cigarette and David half crashed into the screen flats when making a hasty exit on the buggy – not the best driver – bless! The whole house exploded with applause and a standing ovation that left David Tennant in particular, looking a little bashful and humbled but grinning from ear to ear and giving his customary mock salute on exiting.
I am forever awed by that man who is certainly one of the most powerful and expressive actors of our time, if not the most and yet the man, seems genuinely miffed by his acclaim and is likeable and conversational in person that one cannot help but grace him with a fond, goofy smile!
I wasn’t sure how I’d feel about being so close to the man that this inspired me and filled many a fantasy (often naked) for years but strangely I found that he still felt unreal, like I was watching from a detached screen though perhaps that is defensive, to protect the heart from truly wishing!
I really hope that this is converted to DVD but I doubt it. I think Hamlet was the exception and not the rule, justified but its prominent place in theatre history and the educational value but this is a Delfont Mackintosh theatre production and was definitely theatre for the masses, bridging the boredom many might have felt at straight and incomprehensible Shakespeare (not that I’m condemning that as in Shakespeare’s time the playhouse was plebeian entertainment for all).
Just an aside to say – wow has Catherine Tate lost weight – she looked absolutely stunning, breathtaking really and David in hot pants and Hawaiian shirts AND conversing in his natural Scottish accent well blow me down with a feather and take me out of the oven for I’m done!!! You could really see a great bond of friendship in the chemistry between the two and a lot of excitement in their new undertaking. Oh that I wasn’t such a good girl or I would have loved to snap some shots or discreetly video the entire production. After turning up two years ago and watching Hamlet THE NIGHT BEFORE David returned to the leading role, I am thrilled to have the privilege of attending that night and am besoughted with London and the arts all over again. Now just to beat depression, get a job and have some money to actually live there! Sigh!
Wyhdham’s Theatre is in the heart of sprawling London Town by the well worn steps of Leister Square’s Underground maze. All around, tourists barter for discounted West End seats, coffee and bagels scent the air and the chu-ching of one armed bandits ding to flashing neon lights as the hustle and bustle of a thriving capitol discombobulates the senses. However, currently the renowned starry walkway of the glittering stage, Leister Square, is closed for renovation which is fairly hilarious in itself, not possessing the ability to ‘break-down’ as such or require painters, plumbers or candlestick makers except to grace its lawns in summer’s prize picnic weather.
The Theatre itself is the very image of sophistication and ornate beauty with the pale pastel blue and cream theme, laced with gold, sculptures in antiquated style and a ceiling that would make Michael Angelo proud and causes much less neck ache with its more diminutive proportions. It is intimate and welcoming. The curtain cascades down in sky blue, the building smells of love, passion and age and the seats are filled with eager patrons and probably quite a few whovians!
‘Much ado about Nothing’ – ‘Two star-crossed lovers’ Benedict and Beatrice are NOT; perhaps two sparring pragmatists, duelling with scabbards crossed, though they are more likely to cross wits or cross-dress, in Benedict’s case, for an impious charade. The set design is neoclassical and grand with marbled white flooring and pillars and a Mediterranean backdrop to establish the scene. The curtain rises to reveal a relaxed, sun bathing and casually dressed Beatrice (Catherine Tate) and an aerobicising Hero to modern, strong beated music.
The crowd goes wild – yes a strange metaphor for Shakespearean theatre – on the arrival of the sexy smooth Tennant in a golf caddy car with high spirited horn. He has definite ‘5-o’clock’ shadow for ruggedness and is wearing stylish sunglasses. Benedict and his compatriots are arriving at their good friends, Leonato’s after an undefined war and are clad in crisp, white military regalia. Love a man in uniform!
The script is faithful to the original Shakespearean which praises its author with natural modernity and biting wit. Chronologically, the scenes have a distinct 80s feel and the metered songs are set to contempory up-beat rock music. There is a focus on visual slapstick comedy which, during the false love testimony scenes, includes Catherine squirming around mid air on a painter’s pulley and Tennant layered in supposed white paint, forgetting his hand slipped folly and plastering the stuff all over his wild, full hair, face and summer clothes. The effect, with two such strong, energetic and facial expressive actors, is hilarious though one does feel that perhaps the hi-jinxes detract from the genius of the penned script in favour of wooing audiences to fits of giggles that drown out the dialogue. Certainly far from a traditional RSC production.
The characterisation of Benedict and Beatrice play on the actor’s natural crazy charisma as egregious, energetic and demonstrative fools with such comfortable banter and exaggerated peevish insults. There’s a lot of Catherine’s comedy style and David is cavalier and teasing with innate magnetism and presence. However what I really loved was the vivid flip to intense drama in the wedding scene when somehow they managed that mix of serious acting and uncomfortable humour as the dialogue is both potent with impetus and silly and ironic with the pre-determined personalities that the audience is half laughing and half crying.
This was opening night, the first preview but ostensibly very little went wrong, a dropped beer can, cigarette and David half crashed into the screen flats when making a hasty exit on the buggy – not the best driver – bless! The whole house exploded with applause and a standing ovation that left David Tennant in particular, looking a little bashful and humbled but grinning from ear to ear and giving his customary mock salute on exiting.
I am forever awed by that man who is certainly one of the most powerful and expressive actors of our time, if not the most and yet the man, seems genuinely miffed by his acclaim and is likeable and conversational in person that one cannot help but grace him with a fond, goofy smile!
I wasn’t sure how I’d feel about being so close to the man that this inspired me and filled many a fantasy (often naked) for years but strangely I found that he still felt unreal, like I was watching from a detached screen though perhaps that is defensive, to protect the heart from truly wishing!
I really hope that this is converted to DVD but I doubt it. I think Hamlet was the exception and not the rule, justified but its prominent place in theatre history and the educational value but this is a Delfont Mackintosh theatre production and was definitely theatre for the masses, bridging the boredom many might have felt at straight and incomprehensible Shakespeare (not that I’m condemning that as in Shakespeare’s time the playhouse was plebeian entertainment for all).
Just an aside to say – wow has Catherine Tate lost weight – she looked absolutely stunning, breathtaking really and David in hot pants and Hawaiian shirts AND conversing in his natural Scottish accent well blow me down with a feather and take me out of the oven for I’m done!!! You could really see a great bond of friendship in the chemistry between the two and a lot of excitement in their new undertaking. Oh that I wasn’t such a good girl or I would have loved to snap some shots or discreetly video the entire production. After turning up two years ago and watching Hamlet THE NIGHT BEFORE David returned to the leading role, I am thrilled to have the privilege of attending that night and am besoughted with London and the arts all over again. Now just to beat depression, get a job and have some money to actually live there! Sigh!
