Shakespeare in the modern presentation Today I spent a whole day on the couch hugging the Shakespeare Globe-bought discs with broadcast recordings and at the moment the most incredible feeling left "Much Ado About Nothing."
Language does not turn to call it comedy. Of course no one dies in the end, everyone is happy, everyone jokes - but! The play contains such powerful dramatic scenes, such chic dialogues, such deep feelings that perhaps I will dwell on the definition of “drama”, as it is customary to call any play.
The plot is a little too twisted, even for Shakespeare. And although the climax is clearly visible in the second act, it seems to be building up constantly with every minute. And although there are many heroes, but still the play can be called quite understandable. From the first minute we know who is who. (In contrast to the chronicles, where it is impossible to fully understand who is the relative and who they are trying to overthrow the king.) All according to the classics – we have a couple in love, there are unhappy lovers, a wise count (even two), a villain and a group of “clowns”.
Unhappy lovers: Shakespeare brings out weak men and strong women. Hero, although in love, is disgraced, not ready to hang herself on the nearest pole. She, apart from the first fainting, is ready to fight to bring Claudio back and prove her innocence. Claudio, played by Philippe Cambus, is so Shakespearean that his weaknesses can be easily forgiven (though in real life I can’t imagine that). He's shy, naive, noble. He is ready to accept a challenge from a friend and admit his wrongness, but can not confess his love. I want to believe this actor that his Claudio will prove to Hero every day that he is worthy of her.
Leonato and Don Pedro, performed by two honored Shakespearean veterans, give this comedy the necessary degree of drama. It is around their characters that the whole serious part is built. I listened to Leonato’s monologue in which he blamed Claudio for Gero’s death. It would seem that this material is more akin to Hamlet or Richard III, but how organically it fit here. Don Pedro must be a saint by all canons. But he also makes mistakes, which makes him closer to the ordinary person.
And finally, two unconditional stars: Beatrice (Yves Best) and Benedic (Charles Edwards). This duo made my day. More than once or twice I rewinded and watched the scene of the confession of love, because the intonation of each line in it is priceless. These two overconfident and angry with the language of a person find themselves in a unique situation - they are in love. And they don’t know what to do about it, because their target is a person they have repeatedly publicly branded. Principles fight feelings. In the end, both at once see each other not insensitive sarcastic splinters in ..., and sympathetic, sympathetic and kind people. And although Beatrice still manipulates Benedic a little, forcing him to challenge Claudio to a duel, we can see that these two discovered something in each other that the others could not see. The opposites were similar and attracted even more. Without such a great acting duo, such an embodiment is very difficult to imagine. Best reveals her full potential through screaming in one scene, crying in another, and embarrassment in the third. Edwards is cold, emotional, rational, loyal - all without the slightest unnaturalness (which is inherent in the role of Claudio, for example). It seems that his character could well exist in reality.
Despite the classic costumes and fully preserved Shakespearean language, intonations, gestures, the game brings us closer to modernity. The presentation of the material reminded me of the much-loved Twelfth Night, with new notes that we would never have discovered in Shakespeare if we had not seen them in this way.
I didn’t even watch movies at home on TV. I can’t imagine what the audience experienced there in the Globe (which, by the way, stood in the pouring rain). But the lump in my chest again rose, and applause broke out against my will.
10 out of 10