‘Much Ado About Nothing’ Review: Anchors Away
Simon Godwin makes the most of the machinations of a TV news show to tell Shakespeare's comic tale of mismatched romance.
In a cute nod to his new artistic home, Simon Godwin gives a glitzy spin to Much Ado About Nothing (★★★☆☆), with a Beatrice and Benedick sparring as co-anchors in a CNN-style newsroom complete with cameras, control rooms, and a long-suffering production crew.
With the set-within-a set backdrop of D.C. monuments and a lively adaptation geared to a Shakespeare-savvy audience, Godwin certainly knows which side his bread is buttered on. Which is to say that if you are a typical season-ticket holder, you will no doubt love this. If, however, you are hoping for the comic tickle of a certain British irreverence, you’ll not find it here. That’s not the criticism it seems: Godwin’s choice to deliver a genuinely fun, good-natured crowd-pleaser is a smart move, especially now as theaters begin their recovery from pandemic losses.
And there is plenty here to enjoy. Godwin makes the most of the feverish microcosm and machinations of a TV news show to tell Shakespeare’s tale of two sets of nearly-ill-fated lovers and a cartload of mischief. The intertwining narratives and their many parts require a singular vision, and Godwin keeps it well-paced and clear, making the most of Alexander Dodge’s clever circulating set.
It also absolutely works to have the perfectly-coiffed alphas Beatrice and Benedick at the center of the action as they whirl in and around the news desk, shooting barbs during the breaks. Statuesque Kate Jennings Grant is an appealingly corporate Beatrice, her prime-time-ready shell of success and self-sufficiency just about ready to be cracked by the right adversary. Grant delivers her Shakespeare (and the adaptations) with a pleasingly snappy energy and shows herself a seriously-skilled physical comic.
As her prickly love-match Benedick, a polished Rick Holmes is equally convincing and offers a certain “Dick Van Dyke warmth” that helps gen up the chemistry with the brittle Beatrice. There is much to be said for presenting the couple as old enough to have (or color away) a few grey hairs.
Aside from the cantankerous pair, there is, of course, the secondary plot involving young lovers Hero and Claudio, who fall victim to the evil doings of Don John. As Hero, Nicole King is beguilingly self-possessed, but the standout here is Paul Deo, Jr. who delivers his Shakespeare with attractive energy while digging deeper into this confused young man. It’s not easy the way Claudio goes from doting to disgusted after learning of his apparent betrayal by Hero on the eve of their wedding, but Deo makes the most of the character’s spectrum, be it lovey, funny, furious, or bereft.
As Hero’s father Leonato, Ed Gero brings his usual well-seasoned, quiet charisma and serves as a solid anchor to the dramatics and their eventual resolution. He faces the challenge of being ridiculously quick to denounce his daughter with less-is-more choices that do much to clear the hurdle. Less convincing is Justin Adams as a rather bland Don John, delivered without sufficient enunciation.
As Don John’s henchman Borachio, Michael Kevin Darnall seems poised to offer a bit of louche appeal, but it’s quickly killed off by things like mock-raunchy hip waggling. It feels like a missed opportunity, but it’s in keeping with Godwin’s obvious penchant for slapstick, which gets a full and laborious airing during Beatrice and Benedick’s courtship. It may be skillfully choreographed and executed — and it certainly delights a certain segment of any given audience — but it’s all a bit tragic for the rest of us.
Of course, the silly slapstick and all-around positive vibes should make for a family-friendly production — and this would be, except for one, unaccountably glaring choice. To scuttle their impending marriage, Don John tricks Claudio into believing he is witnessing Hero being unfaithful. Although visually obscured, her infidelity is aurally explicit. It is so incongruous, it completely breaks the fiction, not least because Godwin delivers it not once, but a second time via CCTV. It’s not edgy, just awkward.
This aside, keeping the hubbub cheerful are some smaller performances that truly deserve a mention. As the cop, Terrance Fleming is so complete in character and delivery it begs the question of why he is not in a bigger role. And as Dogberry, Dave Quay elevates the comedy tenfold — alas, all too fleetingly. Finally, Raven Lorraine’s Belle Shazzar and Georgina Seacoal offer an array of talents: beautiful voice, beautiful language, and serious charisma.
All told, this is a clever update of a perennial favorite and if you can gird yourself for the slapstick, it’s a jolly start to the festive season.
Much Ado About Nothing runs through Dec. 18 at The Shakespeare Theatre’s Harman Hall, 610 F St. NW. Tickets range from $35 to $125. Visit www.shakespearetheatre.org or call 202-547-1122.
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