“Much Ado About Nothing” at Castle Festival

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Beatrice and Benedict (Alice von Lindenau and Florian Thunemann) – the dreamy couple hesitating with their sharp verbal fights make many of the highlights of the production. © RED

In the end everything will be fine. Before that, there was much ado about nothing. to the delight of viewers. In Shakespeare’s comedy there is lies, deceit and hypocrisy.

The play, directed by Milena Polovicks, recently celebrated its premiere at the Burgfestspiele in Wasserburg Bad Vilbel and can be seen again from Thursday. Dramaturg Ruth Shroffel talks about the challenge, but above all the fun of bringing Shakespeare to the stage.

You will be colorful on stage. sneaky at times. and hypocritical. Above all, it is marked by words. Shakespeare is played at the Castle Festival in Bad Vilbel Castle Trench. Director Milena Polovich brings “Much Ado About Nothing” to the stage.

Dramaturg Ruth Schröfel promises: “It would be very funny, but it also has a serious core.” This is exactly what Shakespeare is still doing today, 400 years after authoring his plays, so special and timeless: “He deals with being human, taking on the characters and their relationships. And after all, in every century, in every age, that’s what keeps us busy” .

Much Ado About Nothing is a comedy centered around a web of relationships and couples – most notably the witty exchanges between the Governor’s niece, Beatrice, and Benedict.

“You and I are too smart to turn ourselves in for love.” This is what Beatrice tells Benedict. The two are one of a married couple (at least at the end of the play) who have to work their way through intrigues, lies and slanders. It begins with a meeting of the characters. The events take place in Italy. A special feature of the Shrovell drama: “The three female characters, completely different personalities and have completely different situations.”

There is Beatrice, “a self-confident woman who refuses love and marriage because she does not want to submit to any man.”

Beatrice: “Only when our Lord God makes people out of something other than the earth. Because it is not offensive to any woman to count herself a piece of dirt? And to owe such shit an account of her life? No, not with me.

Beatrice “with her quick tongue” meets Benedict, “and there is immediately a fiery play of pointed notes.” Viewers will immediately notice that the two really fit together. Both are, however, busy “hitting things on each other’s ears,” as Shroffel describes it. “Satirical, sly, but always incredibly clever, witty and quick-witted.” In contrast to these two is the relationship between Hiro – “a woman who believes she ought to conform to the mores of society” – and Claudio. The couple is about to get married. But marital bliss threatens to collapse. through intrigue.

The third female character, Margaret, the Handmaid, was described by Shroffel as “a strong woman who lives freely and knows what she wants.”

There are other actors, too – some of them spin plots, others ensure that everything goes well (and gets married) in the end. These inconsistencies, says Shroffel, are the core of the piece. “The pleasure of destructive energy plays a major role in social engagements” – for the characters on one side, and the spectators at the Trench Castle on the other.

It is the third year that a Shakespeare play has been on the Burgfestspiele programme. Last year, the same directing team pleased the audience with “What You Want”. This time, Shroffel says, the team opted for timeless aesthetics: “The stage design is different, and much more colorful. Likewise, the fashion, which is likely from the second half of the last century, does not belong to a strictly defined era.

This is always a tight walk, especially for classic authors. It is no longer possible to reproduce Shakespeare’s texts verbatim (or individual translations of his texts). The texts are too old so, the puns are too weird to keep the audience at the ball. “Of course you have to translate that sharp tongue into a relatively modern language, otherwise it won’t work anymore,” says Ruth Shroffel. “In the end we decided to formulate clear language, which we think works well on stage.”

Of the volumes with nine possible translations, the team selected Brandon Larch’s translation. The playwright believes the best alternative has been found: “I don’t think Shakespeare deserves to be treated in a museum.”

Tickets for shows are available from the ticket office by calling 0 61 01/55 94 55 or by sending an email to Tickets@bad-vilbel.de. Much Ado About Nothing is back on the schedule as of Thursday, August 4th.

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