1981–1990 — ‘Strike Up, Pipers’

Abstract

The John Barton production became a touchstone for future productions and Michael Billington, reviewing the 1981 National Theatre production (with Penelope Wilton and Michael Gambon) judged it ‘exquisitely non-committal’ (Guardian, 17 August 1981) with no ‘emotional context’. Others praised the visual beauty of Alison Chitty’s designs: oak panelled interiors and Tudor brick exteriors. There was some inventiveness in staging the Benedick overhearing scene with the plotters in front of a solid brick wall and Benedick, equipped with a ladder, had to trundle backwards and forwards to be able to find them. A year later Stratford again struck theatrical gold with the play. Terry Hands directed Derek Jacobi and Sinead Cusack in a production which drew comparison with Gielgud’s in its visual charm. Jacobi was a gentlemanly Benedick very much in the witty-romantic Giel-. gud tradition. The mirror-panelled set provided an appropriately narcissistic setting for this self-regarding society (of the Garolean age), but the images were in soft focus and the prevailing impression was of warmth and joy. The final moments showed Benedick busily directing others, exuberant while Beatrice stood centre-stage, clutching his decorative sword-belt, gently amused and only a little wryly exasperated by his neglect.