Tag Archives: Made in Colchester season 2016

Much Ado About Nothing

(reviewed at the Mercury Theatre, Colchester on 6 October)

Made in Colchester’s contribution to the Shakespeare quatercentenary is a production by Pia Furtado of Much Ado About Nothing. As befits a garrison town, the location has been shifted out of Italy and the period updated to somethng obviously modern, though neither of the two 20th century world wars.

So far, so good. There’s an effective opening in which, above the heavy done of transport aircraft, the returning soldiers chant Rebecca Applin’s setting of repeated “Going home”. Designer Camilla Clarke gives us an all-purpose canteen, presumably attached to Leonato (Paul Ridley)’s home. Margaret (Kirsty J Curtis) seems to be its manager with Beatrice (Danielle Flett) and Hero (Robyn Cara) offering spasmodic help. This is not peace, however, just a temporary lull in the fighting.

I’ve no quarrel with Don John, commander Don Pedro (Robert Fitch)’s rebellious half-brother, being transformed into an embittered woman by Polly Lister. But why on earth isn’t that giveaway masculine title simply changed into something like “dame”? It jars on each recurrence and detracts from Lister’s own excellent characterisation.

This is presumably a Roman Catholic (or at any rate High Church) part of the country, if the large statue of the Madonna is to be taken as something other than mere set dressing, so why have a woman minister (Emmy Stonelake) who everyone keeps on calling “he” and Friar Francis? It doesn’t make sense.

Furtado gives us an overlong disco-style party whose exhuberance somewhat smothers Don Pedro’s wooing of Hero for Claudio (Peter Bray)’s benefit. She also slices the interval midway in the church scene, thus losing rather than building the tension. The watch scenes go for nothing with Karl Haynes’s Dogberry overemphasising his malapropisms to the point where there is no humour at ll.

Jason Langley’s Benedick is well spoken and acted; Flett never quite matches, let along surpasses, him. They do manage the lethal “Kill Claudio” echange extremely well. Bray doesn’t project any of Claudio’s charm; Chris Charles’ Borachio has this n abundance and produces some of the evening’s best-spoen dialogue.

Much Ado About Nothing runs at the Mercury Theatre, Colchester until 15 October. There are matinées on 8, 13 and 15 October.

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Private Lives

(reviewed at the Mercury Theatre, Colchester on 25 May)

Noël Coward’s 1930 comedy Private Lives is deceptively simple. The plot – a divorced couple finding themselves honeymooning with new spouses at the same hotel rekindle both their passion and the causes for the break-up – calls for the two main characters to dominate the stage, notably in the second act, while the subsidiary pair need to establish themselves just a forcibly but without tipping the balance.

In the event, Esther Richardson’s new production as part of the 2016 Made in Colchester season slightly perverts this. That’s because Krissi Bohn’s bright and brittle Amanda has the perfect foil in Olivia onyehara’s steely fluff of a Sybil. It’s easy to visualise this Amanda as the fast-set darling, sparkling in drawing-rooms and cocktail bars. Sara Perks has given her costumes which are right for the period and which subtly reflect the photographs of Gertrude Lawrence (who created the role).

Sybil wears pink – soft, pleated and tending towards the feathery. From Onyehara’s first entrance, preening as though a society photographer was lurking on the balcony, she gives an impression that this kitten has teeth as well as claws. That’s something which Robin Kingsland’s Victor discovers as they set off in pursuit of their errant mates.

Kingsland puts great sincerity into his Paris exchange with Amanda; this is one of those moments when both author and director lift the veil of frivolity to suggest that these are real people, who can feel real hurt. Pete Ashmore’s Elyot has a touch of petulance about him, whih slips dangerously near to being camp; those 40 minutes in Act Two when Amanda and Elyot are fired with all their previous feelings with each other never quite sustained themselves.

The maid for Amanda’s Paris flat is one of those cough-and-a-spit parts which provide the right actress with a chance to steal the show. Christine Absalom, a Mercury audience favourite, does just that in the third act, earning herself several rounds of applause. Adam P McCready’s sound design and original score (which incorporates snatches of Coward’s own music) adds to the atmosphere.

Private Lives runs at the Mercury Theatre, Colchester until 4 June with matinées on 26 and 28 May, 2 and 4 June.

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Filed under Plays, Reviews 2016