Much Ado About Nothing (literally)

[aearwen2]

Last night, I happened to catch the last about an hour of the Kenneth Branagh - Emma Thompson production of Shakespeare's "Much Ado About Nothing". To be honest, when I saw this the first time about ten or fifteen years ago, it was my first introduction to that play - and I loved it

Comments

[heartofoshun]

I will need to go back and compare. You've peaked my interest now. I also remember the Branagh film for the beauty of the setting and cinematography. I have seen enough scenery chewing Shakespeare to last me the rest of my life, however. I like mine low key and naturalistic at the moment.

You can bet your bottom dollar that what I like is totally inauthentic as far as historical facsimile goes. I presume that Shakespeare's actors played it big and loud, with the humor broad, at least in the theater.

Wonder how they did those smaller private productions for the Queen and nobility. I would think one would have to tone it down for a smaller setting and audience? Just wondering.

I do think it is a taste question and one that even varies for the individual at different points in time. (This is truly my Shakespeare week--I am all over the Hollow Crown BBC productions of four of the history plays--watching them for the second time now.)

[sykira]

MAAN meta! Oh you so just made my morning commute!

I totally agree that the raucous humor that the DT/CT version portrayed felt much more like "oh THIS is how it's supposed to be!"
Having studied Shakespeare when younger and never quite understanding the appeal despite getting an A in Eng Lit A-levels for analyzing it, seeing MAAN live was an epiphany for me. I SO get it now! If nothing else, this production went a huge way to bringing Shakespeare to the masses.

[heartofoshun]

I have not actually seen that production yet, but found it and will make a point to do so.

[aearwen2]

I think there's a time for low key and naturalistic, and then there are those times when making something low key seems to smother the natural beauty of the characters' interactions. The audiences in Shakespeare's time were, of course, those to whom a broad and coarse humor and comedy would be most appealing. But there's a difference between making the humor broad and crass and making it sparkling and sharp

[sykira]

This is incredibly presumptuous of me but talking about / interpreting this version of MAAN is my happy place, I'm still doolally in love with it and it remains worth every penny on my maxed out credit card!!

So, I'm going to restrict myself to one maan meta post link http://sykira.livejournal.com/80479.html
In case you have time or inclination to read it and see what you think? There is done overlap with your thoughts on Branagh and that fascinates me!

(if you or anyone else wants me to unlock other MAAN posts let me know, they are a mix of thinky thoughts, photos and fangirl squee!)

Train now pulling into the station -- hope to be back later to address some of your insightful points on the train home. Also, can I point other MAAN fangirls to your excellent analysis here? They'd love it

[aearwen2]

I'm fine with you pointing other MAAN fans to this - it would be interesting to get a conversation going about the different ways actors see their characters and how well (or not) that plays to the audience.

I'd like to see your other MAAN posts; I'll have to look back through your journal for them.

Your discussion of AB as DT's understudy taking over the role of Benedick was very interesting. I have to admit that I was pea-green at the idea that you got to see that production live so many times. I'd have killed to get passage to the UK to get to even a single performance.

[xprincessxmeg]

I really do agree with you on the Branagh version of the film in relation to the CT/DT version of the play. I really enjoyed the film as a youngster and now when I try to watch it after seeing the play, it just feels lacking

[aearwen2]

You're right - Thompson's interpretation of Beatrice lacked any real mirth. In fact, in so many ways, her Beatrice was more tired than mirthful.

Frankly, I'm thinking that when a play like MAAN is played more for laughs, the sober statements tend to stand out and sing a little more clearly. For example, reading the play, one can get a clue to the almost violent Leonato going after his daughter once she's been shamed by Claudio. But seeing that happen in the midst of a production that has to that point been so upbeat really makes it stand out.

So go ahead and say more. In this particular case, it's intriguing to have two very different interpretations of the same set of words. There's a lot that could be said of how much like life this difference could be.

But that's another discussion altogether...

[akhilanda]

"It's sort of ironic that there seems to be more depth in the play version, since a lot of the lines seemed to be played more for laughs. But oh gosh, when it's serious, that's when it really gets good

[akhilanda]

This. ALL this