![]() They are an eclectic assortment, featuring Branagh himself as one of the young lovers, as well as Nathan Lane as a vaudeville-worthy clown, and Alicia Silverstone, of all people, as the Princess of France (it's very disconcerting expecting an "As if!" to punctuate the cadences of iambic pentameter at any moment). ![]() Dance numbers pay tribute to Golden Age musicals, with clear nods to Gene Kelly, Fred Astaire and Ginger Rogers, and more - albeit with a far less fleet-footed cast. Interspersed among the soliloquies and verse are standards from the likes of Cole Porter, the Gershwins, and Irving Berlin. ![]() Branagh does an admirable job of tackling a lesser work by making the baffling, yet mostly delightful, choice of turning it into a 1940s-set musical. One of Shakespeare's earliest comedies, Love's Labour's Lost lacks the precision of later plays like Twelfth Night, As You Like It, and Much Ado - something any production has to come up against. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |