Much Ado About Nothing

It’s probably impossible to make a play as oft-performed as Much Ado About Nothing feel fresh, but this spirited production from the University Of Adelaide Theatre Guild makes a fair stab at it, and comes about as close as it is humanly possible to get.

The story has been transplanted from 16^th Century Italy to 1940s England in the immediate aftermath of World War 2. The production boasts sets and costumes that are both visually striking in their juxtaposition of different colours and authentic in their attention to period detail. The lively choreography perfectly captures the celebratory mood of VE day, and together with the tightly co-ordinated lighting design, ensures that scene transitions are swift and smooth. It is initially somewhat jarring that very few alterations have been made to the script in accordance with the new setting  - characters still refer to each other by Italian titles such as “Signor” and so on – but then again, Shakespeare was never a playwright noted for the naturalism of his dialogue.

The cast deliver The Bard’s words with such a deep sense of conviction that even if the exact meaning of certain archaic turns of phrase proves elusive to a contemporary audience, the underlying meaning is clearly evident from their emotional inflections. The entire ensemble bring many layers of finely nuanced, impeccably timed physical comedy to the proceedings that perfectly compliment the wit of Shakespeare’s dialogue.

Adam Tuomien and Bronwyn Palmer play out the argumentative courtship of Benedick and Beatrice with a ferocious screwball flair. Alex Antoniou and Olivia Lilburn play beta couple, Claudio and Hero, with an ingenuous sweetness that allows the audience to forgive their characters’ moments of rash foolishness.

Tony Busch and Gary George play benevolent authority figures, Leonato and Don Pedro, with a relaxed affability which serves as an amusing contrast to the pompous self importance of local constable, Dogberry (a comically serious Lindsay Dunn). Brad Martin generally plays the villainous Don John with snide arrogance, but also injects some odd hints of vulnerability that ensure the character doesn’t come across as completely one-dimensional. All the players cast in smaller parts serve to subtly enhance the texture of the piece, without drawing undue attention to themselves.

This staging most likely won’t win over those jaded longtime theatregoers who view the material as having been done to death, but for fans, it’s an embarrassment of riches. For those who have yet to experience this play live, The Theatre Guild’s latest production would serve as a fine introduction.

Benjamin Orchard

Images: Adam Tuominen and Bronwyn Palmer, Benedick and Beatrice; The Army, and The Watch in Much Ado About Nothing.

DISCLOSURE:

Anthony Vawser, a reviewer for Stage Whispers Magazine, has a bit part in this production, as Sexton.