The Orange Tree Theatre's outdoor production of 'Much Ado About Nothing' is a clever and ambitious venture, seamlessly weaving Shakespeare's romantic comedies into a single, captivating narrative. This unique approach, co-produced with the Guildford Shakespeare Company, offers a fresh perspective on these classic plays, particularly when viewed as a sequel to 'Love's Labour's Lost'.
The production's strength lies in its ability to create a continuous romantic saga spanning the years around the Second World War. By intertwining the two plays, director Tom Littler provides a satisfying resolution to 'Love's Labour's Lost' abrupt ending and fills in the gaps of 'Much Ado About Nothing's' backstory. This clever stitching technique not only enhances the narrative flow but also adds depth to the characters, making their interactions and conflicts more compelling.
The cast's performance is commendable, with Owen Oakeshott as the Prince of Navarre and Sarah Gobran as Leonata delivering strong and engaging portrayals. The set design, featuring a bar and a wooden swing, is sparse but functional, utilizing the natural surroundings of Thomas' College, Richmond, to great effect. Neil Irish's set design, with its floral and English charm, adds to the overall atmosphere, even if it occasionally feels too twee.
The transition from 'Love's Labour's Lost' to 'Much Ado About Nothing' is particularly effective. The post-war setting of the latter play creates a stark contrast, with a darker and faster-paced atmosphere. The cast's comfort in their roles is evident, especially in the second half, where the slapstick comedy of Benedick and Beatrice's eavesdropping scene adds dynamism and energy.
However, the first half of 'Love's Labour's Lost' feels somewhat static, with flat daylight and thin sound design that fail to create a compelling atmosphere. This results in a longer and less engaging first half compared to the more beloved second half of 'Much Ado About Nothing'.
Despite some minor drawbacks, the production's overall success lies in its innovative approach to Shakespeare's works. By exploring the themes of ego, self-deception, and the power of language in the context of a world war, the production offers a unique and thought-provoking experience. The theory that 'Much Ado About Nothing' was Shakespeare's intended sequel to 'Love's Labour's Lost' may be doubtful, but this production certainly makes a strong case for it, providing a captivating and imaginative take on these classic plays.
