REVIEW: Shakespeare in Concert: A Musical Tribute

Shakespeare in ConcertShakespeare in Concert, presented by Japanese theatre creator Marina Hata, is a musical chorus of Shakespearean stories performed in a polyphonic a cappella style. It brings together excerpts from The Tempest, Love's Labour's Lost, Macbeth, Henry VIII, Much Ado About Nothing, and As You Like It. Blending monologues, performance fragments, and sonnets, six actors perform either solo or in chorus, all within a steady and harmonious musical rhythm. While preserving the timeless value of Shakespeare’s stories, the production makes them more accessible and relatable to everyday life. Notably, Marina's unique musical composition adds a personal and international flair to the performance.

This is not an interpretation or direct staging of Shakespeare’s works, but rather a musical tribute to them. There is no clear distinction or characterisation among the performers, and the readings and monologues outside the musical sections focus more on conveying emotions and intense dramatic moments. Without prior knowledge of the plots and a solid understanding of Shakespeare, it is difficult to discern specific characters or storylines from the actors’ performances. They are more like six companions thrown into Shakespeare’s world together, exchanging emotions and affirming each other through laughter, revenge, confusion, and self-discovery. Overlapping and interactive sections between musical pieces give the entire performance a rhythmic, melodic structure, rich with emotional nuance.

A frequently recurring chorus — “To who, to wit, to who, a merry merry note, while greasy Joan doth keel the pot” — is a line from Act 5 of Love's Labour's Lost, praising Joan’s dignity and affirming the value of her labour. In this performance, that affirmation of personal worth and the mutual appreciation between companions lingers throughout the theatre, leaving a lasting impression on the audience.

If the performance were to incorporate more character development and connect each performer’s interactions through a narrative thread — rather than simply having actors identify and communicate through music — it could enhance both the credibility of Shakespeare’s themes and the artistic cohesion of the piece. Additionally, if the characters were developed with greater psychological complexity and the emotional climaxes more deeply rendered, the performance would gain further depth and resonance.

Overall, this is a fluid musical work with a youthful voice, rich in the artistry of Shakespeare’s language, filled with hymns and a profound sense of dignity.

★★★ 1/2

For more information, please visit: https://www.etceteratheatrecamden.com/events/shakespeare-in-concert-1st-edition

Credits

Cast: Marley Brown, Constance Des Marais, Greta Hansen, Marina Hata, Nejc Lisjak, Austin Yang
Composer / Lead Artist: Marina Hata
Associate Composer: Ellie Campbell
Production Manager: Kelsey Ann Moebius