reviewvancouver: Bard on the Beach - The Two Gentlemen of Verona, John Jane

Bard on the Beach opens their thirty-sixth season with a pair of William Shakespeare‘s most beloved comedies: Much Ado About Nothing set in the era that it was written and The Two Gentleman of Verona, adapted from Shakespeare’s own era to the nineteen-eighties setting.

Director Dean Paul Gibson’s whimsical adaptation is a delightfully entertaining piece of theatre, but hardly one for Bard purists. While Gibson moves the action from late sixteenth century to a rather flamboyant period, he retains the geographical locations of Verona and Milan. Gibson thankfully retained the play’s primary elements of friendship, betrayal and eventual forgiveness; but it wouldn’t be Shakespeare without the much-favoured theatrical device of cross-dressing and the resulting mistaken identity.

Bringing the Two Gentlemen, Valentine (Matthew Ip Shaw) and Proteus (Jacob Leonard) into the late twentieth century actually works surprisingly well. Famous for materialism and consumerism and its contributions to pop culture, the eighties is still regarded with fond nostalgia. Certainly, the “all-or-nothing” attitude suits the play’s impulsive themes perfectly.

This Bard on the Beach production gives ample opportunity for production excess. Carmen Alatorre’s gorgeous clothing borrows from 20 Minute Workout, Miami Vice (television, ugghh) and Star Wars. Pam Johnson’s Milan set has more of a look and feel of Miami, Florida.

Sound Designer Malcolm Dow is given licence to include some of the decade’s fun music, that is used incidentally rather than wedged into the narrative. I’m sure the audience had fun identifying music by Peter Gabriel, George Michael and Pat Benatar.

While Jacob Leonard never quite commits to the dastardly bounder that we expect of Proteus, he does lend the character a certain complexity. He not only betrays his best friend and his fiancé, but also himself in a foolish unproductive pursuit of Silvia. Matthew Ip Shaw as an easier role as a two-dimensional Valentine, but nonetheless, he acquits himself well. For me, we don’t see enough of Agnes Tong who plays the much-courted Silvia, who seems to be the only character with a real moral compass.

Among the supporting players, Scott Bellis as Launce is a capital ‘C’ for character, showing that the most dependable relationship is between himself and his dog. Versatile Métis actor Sheldon Elter is thoroughly convincing as a second antagonist, the Duke of Milan and Tanner Zerr shows his comedic touch as the cloddish Turio.

Many productions of this play have failed to provide a truly satisfying ending, and this one is hardly the anomaly. But hey, this was one of Shakespeare’s earliest comedies – perhaps even his first – so everybody comes out a winner.