Pleasance Theatre

Much Ado About Nothing

06/02/25

Pleasance Theatre, Edinburgh

Let’s face it, judged by plot alone, Much Ado About Nothing is a bit, well… silly. Like most of Shakespeare’s comedies, the humour relies on disguise, misunderstandings and a fickle approach to romance. As an audience, we really have to suspend our disbelief. Would sworn enemies such as Benedick and Beatrice (Benedict Harrison and Verity Mann) really have an immediate change of heart thanks to some very unsubtly orchestrated eavesdropping? Both of them? It seems unlikely. Would a respected celebrant (Dylan Kaeuper) really suggest that a jilted bride should fake her death, or her father embrace the idea – agreeing that “death is the fairest cover for her shame”? Hmm. And would the groom – a mere twenty-four hours later – agree to marry his dead fiancé’s looky-likey cousin without ever setting eyes on her? I mean, that’s a no, right? Meanwhile, we’re also supposed to accept that no one in Leonato (Faolán Ingram)’s household suspects the decidedly dodgy – almost moustache-twirling – Don John (Cameron Broadly) of being a villain, despite the many outward clues. But still. It is what it is, and there’s a lot of fun to be had along the way.

EUSC’s production of this sprawling play is sprightly and engaging. The directors (Madeleine Brown, Marina Funcasta and Anna Simurda) have chosen to emphasise the humour, eliciting larger-than-life performances from their actors rather than aiming for anything subtle – and I think this is a wise move. The action has been moved from Italy to California, from the 16th century to the 1970s but, while the period is clearly-evoked, I’m less certain about the place. There’s certainly a laid-back Summer of Love vibe, but most of the music is British (Bowie, Bolan, The Sweet, The Police) and the majority of characters speak with English accents, so it all feels a bit more Camden Town than Haight-Ashbury.

Leonato’s estate is Party Central as he and his wife, Antonia (Maria Wollgast), play host to the local socialites. What better way to make a match for their beloved daughter, Hero (Francesca Carter)? The dope is plentiful, the drinks are flowing – and love is in the air. Claudio (Rider Hartley) fancies his chances with Hero, and she’s rather keen on him as well. But “the course of true love never did run smooth” (yes, I know – wrong play), and what could go wrong with Don Pedro (Eric Parker)’s complicated plan to woo the girl on his friend’s behalf? Throw in some meddling servants, a fabulously drunken henchman (Fraser Murray), a local constable (Robbie Morris) and a veritable army of liggers – and the scene is set for some merry mayhem.

It’s a great idea to have a live band on stage, although I can’t help feeling they’re under-utilised. Still, the young cast are clearly having a ball, dressed up to the nines in flares and sequins (floppy hats off to costume designers Paloma Leigh-Stevenson, Alex Dunlop and Bea Fitz), their delivery as bold and brash as the script demands. Not everyone has a lot to do, but they all make the most of what there is, and there are some lovely moments of background detail, such as Margaret (Mia Dé)’s horrified realisation that her tryst with Borachio is being used to frame Hero. Harrison (Benedick) and Carter (Hero) are the standouts for me, but all of the actors and musicians perform with gusto, and I am thoroughly entertained.

There are just two more chances to catch this groovy rendition of Much Ado, so why not head on down to the Pleasance and hang loose with the hippies? Be sure to wear some flowers in your hair…

3.4 stars

Susan Singfield

Singin’ in the Rain

23/01/25

Pleasance Theatre, Edinburgh

In Edinburgh, a storm’s a-comin’ in… but before it hits, there’s the chance to catch EUSOG’s delightful adaptation of this classic 1952 Hollywood Musical. Back in 2022, we saw the touring production at the Festival Theatre, which boasted a massive budget and gallons of real water bucketing down from the heavens. A high bar indeed. But we’ve seen enough EUSOG shows to know that these talented students will deliver something special – and we’re not disappointed.

The year is 1927 and Dan Lockwood (Ewan Robertson) and Lina Lamont (Amelia Brenan) are the golden couple of silent cinema. Movie fans believe them to be an item and, for the sake of their own popularity, they allow this belief to flourish. Dan has steadily worked his way up the slippery pole of fame alongside his childhood friend, Cosmo Brown (Dan J Bryant), a wisecracking song-and-dance man. But of course a new film release – Al Jolson’s The Jazz Singer – is about to change the face of cinema forever. Lockwood and Lamont realise that they need to make a talking picture. But there’s a problem: Lina has a screeching voice with all the appeal of fingernails being dragged down a clapperboard.

And then Dan meets Kathy Seldon (Hannah Shaw), a theatre performer, who claims to never go to the cinema, and who plans to head off to New York to pursue a career on the stage – you know, real acting. She also has a lovely singing voice. And Dan is irrevocably smitten…

There are many good reasons why the original film still features in most critics’ lists of the greatest musicals of all time. It boasts a sparkling screenplay by Betty Camden and Adolph Green and a whole clutch of memorable songs by Nacio Herb Brown and Arthur Freed. What this production might lack in special effects is more than made up for by the dazzling and exuberant performances of its young cast, who take on the most demanding of roles with aplomb.

Robertson is the powerful anchor at the heart of the piece, singing up a storm, while Shaw is a delight in the ingenue role. Brenan is having the best time as Lamont, gleefully mangling her lines and performing What’s Wrong With Me? in tones that could shatter plate glass. And, as is the case in the film, it’s Cosmo who steals so many of the scenes: Bryant clowns with considerable skill and his performance of Make ’em Laugh even manages to rival Donald O’Connor’s most celebrated routine.

As ever with these productions, there is a large chorus and every performer gives it one hundred percent. Director Freya White and choreographer Rosalyn Harper have their huge cast moving effortlessly through a series of pratfalls and complex dance routines – and let’s not forget the input of musical directors Evie Alberti and Sebastian Schneeburger, who guide a seventeen-piece orchestra through that unforgettable score. The standing ovation from tonight’s packed crowd is genuine and well-earned.

Sadly, Storm Éowyn has already put paid to Friday night’s performance and fingers are currently crossed for the Saturday. If it does go ahead, then please take the opportunity to catch this captivating show, which to my mind personifies the very essence of pure entertainment. I’m willing to bet you’ll come out smiling and singing the title song, no matter what the weather’s doing.

4.8 stars

Philip Caveney