I must admit, having only seen script in hand at play readings before I was a little apprehensive, but shouldn’t have been – both were marvellous giving fully rounded performances and I particularly fell in love with McGrillis in the role. Though I suspect it won’t happen (as I’ve got my own suspicions on who the mystery person will be), I’d be more than happy to see her step into Best’s shoes full time.
Especially as I’ll definitely be revisiting this production a couple more times before it closes – as with As You Like It – this was utterly joyful from start to finish. From the moment you walked into the Globe to find it festooned with orange trees, pools of water with flowers floating in it set in the stage, and a wonderful sense of bright freshness - it was impossible not to adore (even if it did leave me with serious orange cravings). It was a feeling continued throughout, especially in the warm music the onstage band provided.
Alongside McGrillis and Bevan there was an absolute wealth of fantastic performances. Charles Edwards, who impressed me in Twelfth Night at the National in January, continues to be delightful. His facial expressions alone reduced me to giggling and it’s still hard not to smile when I recall the memory of him philosophising, feet soaking in a pool and sipping on his cocktail. There was great chemistry as well between him and McGrillis, with several of the set pieces between them standing out as highlights – especially the moment where they were confronted with each others letters, though I also adored watching each overhearing the conspirators staged conversations – each a small comic masterpiece.
One of the best things about this production, however, is that wonderful as Beatrice and Benedict are – Hero and Claudius stand on an equal footing – just as important, just as entertaining and just as vital to the emotional story of the play. Often their story can be a difficult one to connect with, Hero spends much of the play silent, whilst Claudius manages to say something horrendous at every turn. Miraculously Ony Uhiara instilled Hero with spirit, nobility and innocence; whilst Philip Cumbus completely transformed my feelings for the character. Rather than the arrogant, foolish, frequently cruel character I thought I knew, he instead presented an uncertain, inexperienced young man desperately trying to manage his first flush of love, possibly his first real interaction with women and his need to maintain bravado in front of his older, more impressive friends. He frequently does the wrong thing, sometimes disastrously, but the reasons for his actions and his obvious grief and anguish makes him much more sympathetic and forgivable. It’s a really wonderful performance.
Amongst lots of other great performances, Matthew Pidgeon proved another favourite with a dramatically mad Don John. Though I must admit that I was less certain about Paul Hunter as Dogberry and his assortment of guards. There were some bits that were wonderfully funny, like the moment with the lamps, but others that I found less effective like the slightly bizarre sound effects. However, I was clearly alone in my doubts as they got a round of applause every time they finished a scene and I can’t deny that I got a thrill when I was selected as their thief of the night (as I was also picked out as a woman of the city during As You Like It a few weeks later, I’m officially declaring myself a Woman Thief of the Night City *grins*).
The Globe really is doing fantastic work this year and Much Ado About Nothing is a shining star of a production that I would recommend to everyone, I can’t wait to go back.
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