THEATER

THEATER

THE ROYAL SHAKESPEARE COMPANY

The Fisher Theater

By Sam Pappas

The Royal Shakespeare Company has given Detroiter’s the chance to see the first worthwhile, production of the season at the Fisher Theatre. I really don’t know how Max picks them but he finally drew a winner.

Although the opening night’s performance of “Much Ado About Nothing” was one of the most successful productions of Shakespeare I’ve ever seen, it seemed to lack the vitality needed to pull off a quick paced show such as it should be. I was pleased but not overjoyed at the production as a whole.

The acting was more than just good with Janet Suzman playing the part of Beatrice and Alan Howard as Benedick. These are the two rivals of the play who finally fall in love because of the antics of some ofthe, other characters. Both of these were played with great strength as would have to be the case, but some tidies I felt they lacked the speed of line delivery to keep their reputations as quick wits going. Both though had some very strong and funny moments.

Helen Mirren who played Hero and Bernard Lloyd who played Claudio had the most difficult parts of the show. Shakespeare did not provide the character traits to make these two parts very interesting and so theyxare most challenging to any . actors. Miss Mirren’s Hero was both the dumb innocent lover and at the same time the little schemer who helped bring out the love between Beatrice and Benedick. Mr. Lloyd’s Claudio was jat times a bit confusing. He was either too maudlin to be funny or not enough,

I’m not sure which.

Dog Berry, as played by David Waller and Verges by Clifford Rose both were very big assets to the show. They provided very happy monents whenever they were seen as the Constable and the HeadBoroUgh, very common very funny towns-people. Especially funny was the courtroom . scene with the new nightwatchmen hand picked by Dogberry.

Don John as played by Terrence Hardiman, was the bastard brother of Don Pedro the Prince of Aragon, played very well by Norman Rodway. DJ is the “bad guy” of the play and lie really was bad. He almost destroys the love affair between Claudio and Hero by plotting to make Hero to look like a “fallen woman” on the night before her marriage to Claudio. Mr. Hardiman played a very good part despite the shortness of his time on stage.

The dances choreographed by Christie Dickason were very well done and very exciting.

The directing of Trevor Nunn was sometimes confusing as there seemed to be some very sterile actions "in the play as opposed to some very contrived blocking.

The most fascinating aspect of the production to me though as an aspiring scene designer was the settings and costumes designed by Christopher Morely!

' The stage was beautifully empty, something we at Wayne aren’t used to seeing, and very fitting for the play. The actors had more than enough room to work as very simple and small set pieces'were rolled on stage and the rest was left to the imagination of the audience. The costumes fit very well with the set and play as well.

I strongly urge anyone who likes Shakespeare to take in the RSC’s “Much Ado About Nothing” for a good, traditional, and different production of this one ■ of Shakespeare’s better comedies.

ELVIS, YES! .

Nostalgia has its uses. Like now, f’instance. Bought any good albumns lately? Tain’t much happening, right? Lotta psychedelic hype, right? Who ARE those record companies trying to kid? So where’s the new Beatles? Or the new Elvis? .

Elvis, you say? Yup. Elvis, who’s been doing parodies of himself for ten years? The same. Have you ever dug “My Baby Left Me?” Or Baby Let’s Play House?” Or heard him cut Lloyd Price on “Lawdy Miss Clawdy” and Joe Turner oft “Shake, Rattle and Roll” oft the SAME single? Who? What?

But don’t waste your time with those old singles; just go out and buy his first album, the one with tfye “Elvis” in pink down one side ahd the “Presley” in green across the bottom, numbered Victor LSP 1254. Sounds boge, right? Just listen.

There’s Scotty Moore on lead and Bill Black on string bass, who started with Elvis at Sun Records, Memphis. Victor added a drummer, D.J. Fontana. I believe Floyd Cramer is the pianist. For my money, these cats1 pan outstomp ‘em all. This album contains the best hard rock of those early days. Other groups did as well on one or two records (Gene Vincent, Eddie Cochran); one singet, with a larger band, could make you sweat as much (Little Richard). But if you’re looking for the best small-piece rock band of ill times, for tightness, excellent arrangements, excitement and toughness, dig these cats doing material they’re at ease with backing a singer who knows how to sing. In these parlous times, they can only do you good.

Bob Tremain