Much ado about nothing.
At the end of the Royal Shakespeare Company's Much Ado About Nothing, the huge audience at the vast Gershwin Theater leapt to its feet and bellowed approval, from the lowest pit of the orchestra to the highest stratosphere of the balcony, until the company on stage began to beam and laugh and applaud the audience in return. At the end of the same company's Cyrano de Bergerac, the audience rose again, orchestra and balcony, and bellowed even louder bravos to the heroic Derek Jacobi, bowing grandly at the center of the stage. Unfertunately, audiences have no chance to give a standing ovation to the two plays together, since they can be seen only one at a time. So I'll make up for that myself. Hurray, say I, getting to my feet as best I can in the cramped aisle of this column. This is a standing double review.
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|Title Annotation:||Gershwin Theater|
|Article Type:||Theater Review|
|Date:||Nov 17, 1984|
|Previous Article:||Cyrano de Bergerac.|
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