I am in pre-production of Much Ado About Nothing and whilst I am forming much of the image of what I would like to see I wanted to post here to invite any ideas and learnings people have had with this play, and also to invite any feedback or critism of my initial ideas. I am partically interested in feedback that stems from a performance view-point but happy for any and all responses - you never know where a great idea will come from!
When I was approached to direct this play I had some hesitations as it had become one of my least preferred of the Bard's plays. I had not studied it in any great depth and my experiances in viewing it all tended to be very light-weight and often boardering on pantomine farce. I typically lean to the Tragedies and histories. In studying the text I'm finding a new love of the play but in doing so see it in a much harsher and darker light than the productions I've known. I'll outline my ideas.
1. Setting: I have decided to set this in 16th C Itally during the Goldern Age of Spanish rule. I find the story carries clear aspects of a male dominated society, clear social standings and an overt protection of honour (both male & female). With these rules I have decided that modernisation will not add value to understanding as I would be forced to re-establish these aspects in a new time. The play will be performed in an old stable (including exposed rafters and saw-dust floor) that is part of a winery during the regions popular wine festival so the added novelty of a period play also seemed a good positive.
Benedick: I want to keep him as a rough soldier. Not of the same breeding as Don Pedro or even Claudio, and to present him as a real soldier rather than an officer (as Pedro & Claudio). Arregant and boastful but charismatic throughout. I really would like to take the flirting out of the initial exchanges and keep it as two people overly sensitive to each others barbs. I will use the roughness of him to make his acceptance of love very arkward and comical. My experiance of productions usually include a foppish character whose exchanges with Beatrice are obviously love from the very first scene. My biggest concern in this is the potential loss of comedy but I have a talented actor here that I beleive will be up to the challange. Without a good actor I think this could be too much of a risk.
Beatrice: My most undeveloped character. I have an agreement with the actress that we need to develop the backstory for this girl as we are both troubled by her sudden change of direction and acceptance of love and loving. Early self-deception is point we agree on and this will be fleshed out during rehearsals. Any ideas for this complicated character will be greatly appreciated.
Claudio: He will start as a likeable lad, if not on the arrogant side though but will really lower his colours firstly with the jealous reaction to the Prince's wooing of Hero on his behalf and then post the wedding scene. I have cut some of the late scenes banter between himself and Benedick as I don't want to let him off the hook with our modern audience too easily. As always with performance, some text has to go and I saw this as some of the more confusing and less valuable to story.
Borachio: Following a test of this concept in readings I have merged Conrad & Borachio (helping me keep cast numbers down with less doubling) and Borachio becomes this amazing character, drunk, aggressive and naughty but somehow quite loved by the audience. His 'discovery' scene with Conrad becomes a drunken brag ramble direct to the audience.
Dogberry & Verges: I am yet to cast these roles and in reality the actors I get will help determine final direction. I am looking at Dogberry as someone well out of their depth trying overly hard to intimidate anyone on a social level equal or lower to them, but making a right fool of himself trying to impress anyone above him. In some ways, more of the child trying too hard to impress than an outright fool. Again, pending age of actors, I am considering Verges to be the 'retiring' constable, grumpy and short of temper. Dogberry is embaresed by him whenever around superiors and tries to lift his own standing by putting Verges down.
Ok, there's the more important of my ideas. I am looking forward to rehearsals to flesh these out and I am mindful that my darker aspect to this play may comprimise the comedy of it which would be a failure. I am hoping instead to raise the complexity of the comedy with more realistic characters. Thanks in advance for any advice/ideas/feedback.
Russell
When I was approached to direct this play I had some hesitations as it had become one of my least preferred of the Bard's plays. I had not studied it in any great depth and my experiances in viewing it all tended to be very light-weight and often boardering on pantomine farce. I typically lean to the Tragedies and histories. In studying the text I'm finding a new love of the play but in doing so see it in a much harsher and darker light than the productions I've known. I'll outline my ideas.
1. Setting: I have decided to set this in 16th C Itally during the Goldern Age of Spanish rule. I find the story carries clear aspects of a male dominated society, clear social standings and an overt protection of honour (both male & female). With these rules I have decided that modernisation will not add value to understanding as I would be forced to re-establish these aspects in a new time. The play will be performed in an old stable (including exposed rafters and saw-dust floor) that is part of a winery during the regions popular wine festival so the added novelty of a period play also seemed a good positive.
Benedick: I want to keep him as a rough soldier. Not of the same breeding as Don Pedro or even Claudio, and to present him as a real soldier rather than an officer (as Pedro & Claudio). Arregant and boastful but charismatic throughout. I really would like to take the flirting out of the initial exchanges and keep it as two people overly sensitive to each others barbs. I will use the roughness of him to make his acceptance of love very arkward and comical. My experiance of productions usually include a foppish character whose exchanges with Beatrice are obviously love from the very first scene. My biggest concern in this is the potential loss of comedy but I have a talented actor here that I beleive will be up to the challange. Without a good actor I think this could be too much of a risk.
Beatrice: My most undeveloped character. I have an agreement with the actress that we need to develop the backstory for this girl as we are both troubled by her sudden change of direction and acceptance of love and loving. Early self-deception is point we agree on and this will be fleshed out during rehearsals. Any ideas for this complicated character will be greatly appreciated.
Claudio: He will start as a likeable lad, if not on the arrogant side though but will really lower his colours firstly with the jealous reaction to the Prince's wooing of Hero on his behalf and then post the wedding scene. I have cut some of the late scenes banter between himself and Benedick as I don't want to let him off the hook with our modern audience too easily. As always with performance, some text has to go and I saw this as some of the more confusing and less valuable to story.
Borachio: Following a test of this concept in readings I have merged Conrad & Borachio (helping me keep cast numbers down with less doubling) and Borachio becomes this amazing character, drunk, aggressive and naughty but somehow quite loved by the audience. His 'discovery' scene with Conrad becomes a drunken brag ramble direct to the audience.
Dogberry & Verges: I am yet to cast these roles and in reality the actors I get will help determine final direction. I am looking at Dogberry as someone well out of their depth trying overly hard to intimidate anyone on a social level equal or lower to them, but making a right fool of himself trying to impress anyone above him. In some ways, more of the child trying too hard to impress than an outright fool. Again, pending age of actors, I am considering Verges to be the 'retiring' constable, grumpy and short of temper. Dogberry is embaresed by him whenever around superiors and tries to lift his own standing by putting Verges down.
Ok, there's the more important of my ideas. I am looking forward to rehearsals to flesh these out and I am mindful that my darker aspect to this play may comprimise the comedy of it which would be a failure. I am hoping instead to raise the complexity of the comedy with more realistic characters. Thanks in advance for any advice/ideas/feedback.
Russell
- Page :
- 1
There are no replies made for this post yet.