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Show: Love’s Labour’s Lost
Society: Royal Shakespeare Company – RSC (professional)
Venue: Theatre Royal, Haymarket
Credits: William Shakespeare
Type: Sardines
Author: Chris Abbott
Performance Date: 15/12/2016
Love’s Labour’s Lost
Chris Abbott | 16 Dec 2016 11:31am
Edward Bennett and Lisa Dillon in RSC & Chichester Festival Theatre’s production of Loves Labour’s Lost. Photo: Manuel Harlan
First seen at Stratford in 2014, this production of Love’s Labour’s Lost is one of a pair of productions sharing a setting and company, and which have now opened at the Theatre Royal Haymarket. The plays are set in a stately home based on Charlecote Park, near Stratford, with the estate workforce and servants providing the necessary layers of society to match Shakespeare’s characters.
One of the greatest joys of watching this performance is admiring the way in which these actors work together on what are by now finely honed performances, each possibility fully embraced but always true to the text. The Court of Navarre are here turned into four aristocratic idler who wile away their days setting each other challenges. Against them, the ladies of the French court are Edwardian new women, beautifully dressed in costumes which, like all of Simon Higlett’s designs, impress throughout.
Around and between these groups come the locals and the staff, including a nicely played shift of mood with Holofernes and Nathaniel playing bowls and fading into history as they do so. More vigorous and determined are the Hall staff, especially Costard the gardener, played to the hilt by Nick Haverson, a very physical actor who can get a laugh just from moving his feet. This is character acting of high quality, but disciplined and controlled: a stunning performance.
There are no weak performers in this company and it is a joy to hear the quality of verse speaking throughout, especially in this most verse-heavy of plays. The four nobles are nicely differentiated, and at their best on a roof-top scene which is staged with the level of invention to be found throughout Christopher Luscombe’s detailed production. Edward Bennett carries most of the humour among the aristocracy and is a confident performer who is well-matched with a thoughtful Sam Alexander, heroic William Belchambers and the less certain Tunji Kasim, unsure of whether he is ready to abandon his teddy for an adult relationship.
Although Lisa Dillon as Rosaline, marked out as different by being blonde, carries most of the action among the female adversaries, she is well supported by Leah Whitaker, Rebecca Collingwood and Paige Carter. Emma Manton and Peter McGovern carry much of the singing required, in the glorious music by Nigel Hess which extends to provide a filmic undercurrent at key moments of emotion. McGovern also works well with John Hodgkinson’s bombastic and vowel-mangling Don Armado, especially in the presentation of the Nine Worthies, complete with an errant snake puppet.
Towards the end, however, the mood of jollity fades and we become aware of impending conflict; and with a final song, the nobles reappear in military uniform and they set off for war, leaving the rest of the estate fearful and bereft. This is a stunning ending to a high concept production, and a suitable indication of where the companion play will begin; and seeing both plays in one day is doubly rewarding.
- : admin
- : 15/12/2016