reviewvancouver: Much Ado About Nothing

Bard on the Beach opened its 21st Shakespeare festival with one of the immortal Bard’s most entertaining comedies, Much Ado About Nothing; the first of four productions that can be seen at Vanier Park. (Antony and Cleopatra, Falstaff and Henry V will follow throughout the summer).

Dean Paul Gibson has set this overtly lavish production in early twentieth century Messina, Sicily – the location of its original staging. Even the weather cooperated to drench the Sunset Beach outlook in a Mediterranean brand of sunshine.

Much Ado is a lighted-hearted romantic comedy about two very different pairings: Claudio, a Florentine returning from the war, is immediately smitten by Hero, the beautiful and demure daughter of Leonato. While the love-struck couple make fast plans for an elaborate wedding, Beatrice, Hero’s cousin and Benedick, a military officer from Padua are each affirmed in bachelorhood. Beatrice, who carries a few foibles commonly associated to another Shakespeare heroine, Katherina Minola from The Taming of the Shrew, appears to have only distain for Benedick, while he, though well-mannered as befits a gentleman, has little use for Beatrice’s independent nature.

However, as a result of some creative meddling, the reluctant lovers are ultimately drawn to each other. At the same time, an unlikely villain, Don John (Parnelli Parnes) who is driven by spite and jealousy, concocts falsehoods damaging Hero’s reputation, thus throwing her wedding plans into jeopardy.

Perennial B.O.T.B. favourite Jennifer Lines is an intriguing choice as Beatrice, yet it’s one that certainly works. Having played Margaret in an earlier production of Much Ado, she understands the nuances required for the more peremptory role. She has a pleasing chemistry with John Murphy's Benedick, and is positively hilarious in the scene that sees her eavesdropping on Hero and Ursula whilst desperately hoping not to be noticed.

In the secondary roles, Parnelli Parnes as Don John and Simon Bradbury as Constable Dogberry are especially outstanding. As Shakespeare’s villains go, the role of Don John gets short shrift, but Parnes mines the one-dimensional mischief-maker for all its worth. Bradbury pushes the requisite slapstick to the limit just short of being annoying.

Mara Gottler’s finely detailed clothing (and millinery) bring a high level of quality to this production, evoking time and place of Italy in the 1900s. Drew Facey’s terraced courtyard combined with Gerald King’s lighting – that has to compensate for the changing natural light – complete a blithe Mediterranean atmosphere.

Altogether this is an immensely entertaining production of one of the Bard’s most popular works, skilfully acted and with superior production values.