Words: Gabrielle Yusuf she/her
I had never imagined watching a Shakespearean production where the characters were protesting the Vietnam War, but that’s where I found myself, in the audience of Edinburgh University Shakespeare Company’s (EUSC) production of ‘Much Ado About Nothing’ on Friday 7th February.
I now have the grand task of trying to fit all my thoughts into an 800-word article. Set to the sepia tones and bright colours of the 1970s, this adaptation of ‘Much Ado’ was nothing short of ‘pure and unadulterated fun’, in the words of co-directors Madeleine Brown and Marina Funcasta. Adapting arguably the world’s first romantic comedy is a hard feat, but the EUSC team do so cohesively, setting the action to the backdrop of a 70s conversation pit, fully equipped with records providing nostalgic needle drops and a bar fuelling most of the conflict. The costume design team (Paloma Leigh-Stevenson, Alex Dunlop and Bea Fitz) did a wonderful job at utilising pieces that not only spoke to the characters and the dated setting but the actors themselves – a big shout out to the wardrobe for Beatrice and Don Pedro.
The clothes hung off them like a second skin (I would be disappointed if Eric Parker did not keep his silver silk party shirt and Verity Mann her peplum patterned blouse). The transitions were smooth, although the live band going on and off stage was disjointed at times and did overshadow the dialogue slightly at the party regardless of the mics. The blocking was marvellous; there was rarely a character who was seen on stage not doing something for an intentional purpose.
Now, to speak about the ensemble themselves. The talent was overflowing and there was not a single weak character. I must speak about Benedict Harrison and Verity Mann. When on stage together, the tension was palpable (if you know me, I love an enemies-to-lovers arc); when in the throes of soliloquies, the longing was almost unbearable. Harrison brought angst and physical humour to the foreground erring between Chandler Bing-Esque quips and tortured Renaissance man musings. Mann perfectly brought out the feminist overtures of Beatrice’s character; pontificating over the disappointment of being courted by men and the necessity of marriage. Mann executed the line ‘he that is more than a youth is not for me, and he that is less than a man, I am not for him’ so well, that I solemnly believe it was from the heart (and, indeed, the heart of every woman in attendance).
Since Hero serves as a conventional foil to Beatrice’s boisterousness, she has the risk of being one-dimensional. Thankfully, Francesca Carter avoids that by a mile and brings colour, humour and feeling to the heroine. As for the rest of the ensemble, Rider Hartley’s Claudio was as if Prince Charming wore bell-bottoms, and Faolán Ingram’s Leonato was the ultimate paternal figure. Don Pedro was also a treat to watch. His rockstar appeal was unforgettable; each line said with an ease that cannot be learnt. Do not ask me what colour anything was while Parker had on the silver silk-chiffon frilly blouse – I cannot tell you. All in all, the chemistry in this ensemble cannot be mimicked.
Something I love about Much Ado About Nothing is the presentation of female and male friendships, and EUSC’s production captured just that. From the male camaraderie between Don Pedro and his crew to the intimacy shared between Hero, Beatrice and their girls, it’s a sight that makes you want to join – all good theatre should evoke this feeling. This cast is the people you might imagine getting high at Woodstock; that popular co-ed friendship group that has definitely dated each other (but it’s not that weird because they are all still cool with each other). It truly was a romp.My final thoughts are that Madeleine Brown and Marina Funcasta should flower power every Shakespeare production to eternity. The directors say in the program: ‘it is a real fear with university productions of Shakespeare to fall victim to vaulting ambition in confronting the loftiness of the text’, but they didn’t fall victim to anything here. This rendition of Much Ado is ambitious; with a live band, choreography and very real talent but in doing so, it soars. EUSC has me very much hooked on a feeling, and that feeling is awe (and that I should’ve bought a poster).
