When the Royal Shakespeare Company decided to set “Love’s Labour’s Lost” at the start of World War I (see my review on this site), they also decided to couple it with “Love’s Labour’s Won.” Er, yes. That title does show up in a list of Shakespeare’s works in 1598; and one can assume it is either a lost play or another name for a known one.
So with no evidence pro or con, they decided that “Much Ado About Nothing” was as good as any other and ran it with “Love’s Labour’s Lost,” setting it at the end of World War I at Christmas time. And since Berowne and Roseline in the earlier play are much like Benedick and Beatrice in “Much Ado,” they cast the same actors (Edward Bennett and Michelle Terry) as both couples. They are excellent, Terry being one of the strongest Beatrices I have seen. Now both plays are out on OpusArte DVDs, separately and as a boxed set.
While the production is quite good, I have two complaints. It has become a common fault in Shakespeare productions that the comedy is overdone. So while the rest of MAAN is a mixture of high but human comedy and serious situations, the scene in which Benedick is tricked into believing that Beatrice loves him is staged very cleverly but as pure farce. Again, the first scene with the town watch, headed by the malapropian Dogberry (Nick Haverson), is too slowly articulated (lest audience miss a single joke) and in their second appearance there is far too much pantomime.
There are a good many choral interludes, other than the one called for in the script at Hero’s tomb, and Christopher Marlowe’s “Come live with me and be my love” is heard twice. Arranger Nigel Hess explains things in a short interview in the bonus section. And there is an optional voiceover by Director Christopher Luscombe.
The serious parts are well played and believable: Leonato (David Horovitch), Antonio (Thomas Wheatley), and Don Pedro (John Hodgkinson). Sam Alexander makes a somewhat restrained villain as Don John, while Flora Spencer-Longhurst makes a sympathetic Hero. It is hard to make Claudio likable, since he so easily falls for Don John’s lies, but Tunji Kasim takes a good stab at a difficult role.
The scenery is solid and realistic, the changes working smoothly with the partial help of a rising section of the thrust stage. Even the Christmas tree is put to comic use, but in an over-the-top way.
I suggest that one see LLL first for obvious reasons. And thank you, OpusArte, for the subtitles!