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One of the greatest pleasures
of books such as the two under review is the opportunity they offer readers
to travel across space and time to "see" productions of Shakespeare's
plays, as well as to spend time in the pleasant company of their respective
authors.
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Peter Holland, a regular
reviewer for Shakespeare Survey and the BBC and Director of The
Shakespeare Institute at the University of Birmingham, offers us his perspective
on nearly a decade's worth of Shakespearean productions in Britain: they
were staged in theatres ranging from large to small, with directors whose
perspectives cover a wide spectrum from traditionalist to radical, and
actors whose names have become familiar to many from their work in film
and others whose work speaks to us only through these words. Holland's
analyses are astute, articulate, and provocative: he clearly appreciates
the power of theatre and his reviews and reflections allow us to accompany
him in his journey across England to see the latest from the RSC, the
Royal National Theatre, Northern Broadsides, Cheek by Jowl, and many others.
He arrives open-minded to whatever possibilities may be put before him,
and his critiques deploy praise, challenges, and outright disagreement
in reasonable measure.
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It is possible to read the
book straight through as I did, or to use its helpful index as a resource
to productions, companies, or individual actors or directors. Holland
is passionate about Shakespeare and about theatre, and his insights into
both inform his eloquent reviews. While he clearly indicates productions
he considers successful, I would be hard-pressed to descry a pattern among
them. His appreciation stems from a sense that good productions offer
a coherent approach to the text, whatever the approach may be, and that
the actors, director, and designers successfully embody it. So whether
the production is large-scale or small, performed in London or Chichester,
with famous or unknown actors is irrelevant to its success. When appropriate,
he will incorporate comparisons between productions, or sometimes simply
refer the reader to an earlier essay. The only thing better than reading
Holland's book would be accompanying him regularly to the theatre, with
long conversations afterward.
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John Cox's edition of Much
Ado About Nothing is one in the "Shakespeare in Production" series
that offers both a full text of a play (the New Cambridge edition) and
a full stage history. Cox begins with a long introduction that traces
performances of Much Ado from the Renaissance stage to contemporary
stage, film, and television productions. This absorbing history provides
readers with fascinating insights into the play itself and into the cultural
changes that have determined its interpretation in production. Perhaps
the most obvious change over time has been in the interpretation of Beatrice,
who is shaped to fit her time period in fascinating ways; the Victorian
period, especially, had a difficult time with her outspoken, moderately
bawdy charm.
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Cox's work draws on acting
editions, promptbooks, and published reviews to provide readers with a
cultural history of productions that illuminates as much about artistic
and social values as about theatre itself. In the text that follows, he
continues this practice, with the text on the upper part of page and notes
on the lower; the notes detail specific information from productions,
including abridgments and cuts, stage business, and actors' interpretations.
A book such as this would be an invaluable resource for anyone involved
in a production of the play, as well as those intrigued by the many and
varied ways in which plays are brought to life. Shakespeare's plays offer
enormous potential in terms of interpretative freedom, and such possibilities
spring vividly to life in a history such as this.
- Although I live in a community
with a great range of theatre on view, I have only rarely been able to sample
productions elsewhere. Peter Holland and John Cox offer all armchair travellers
and theatre-goers new experiences expressed in delightful, eloquent prose;
they also offer theatre practitioners astute observations on the history
and practice of Shakespearean production that will illuminate their own
work. Anyone passionate about theatre should seek out these books.
