“Much Ado About Nothing,” Richmond Shakespeare’s debut play for the 2009-2010 season, is a happy and humorous affair that seems to correlate with the optimism of the company. Finally in its new space in CenterStage’s Agecroft Hall, Richmond Shakespeare flew out the gates this weekend with a cast bursting with experience and vitality.
Artistic Director Grant Mudge had nothing but praise for his cast, both during and after the show. With good reason, too; The comedic brilliance of Shakespeare translated wonderfully.
Set in Messina, Sicily, the comedy focuses on two lovers, Claudio and Hero, who are set to be married, but treachery on the part of Claudio’s illegitimate brother Don John soon forces Claudio to call off the wedding, severing ties with many close to him.
Particularly strong performances from Constable Dogberry (Bob Jones) and the bumbling Verges (Thomas Cunningham, Master of Fine Arts candidate), had the audience bursting into applause and laughter on several occasions. The two stole the show as they marched around stage, interrogating characters while the clueless Dogberry made a clever mockery of the English language.
The chemistry between Beatrice (Sarah Johnson) and Benedick (T.J. Simmons) added a sappy touch that complemented the mood. The star-crossed lovers eventually end up getting tricked into confessing their love for each other. Simmons, a Theatre VCU alumnus, seemed particularly comfortable and confident no matter what mood or situation was thrown at him.
While it took me a little while to warm up to Jonathan Conyers playing an overly enthusiastic Claudio, the actor turned the performance around in the second act with renewed perspective and just the right amount of expression. His convincing reaction to the apparent death of his beloved Hero cast a dark mood onto the audience, who likely found it easy to empathize with the tormented protagonist.
Much respect must be given to choreographer Becki Jones, whose light-hearted dance numbers and fancy curtsies and bows added a bright element to the production.
A lovely set design brought the rustic Mediterranean setting to life, with quaint wooden doors and two balconies from which the play’s musicians and stars could project their art. Transitions flowed smoothly, and minimal props allowed for creative and interactive scene changes with the characters.
All in all, Richmond Shakespeare’s “Much Ado About Nothing” was a delightful affair with plenty to laugh about and to be moved by. Strong performances across most of the cast and nearly flawless technical aspects made for a clean, fun and exciting evening. If there was any doubt at the end of the second act about whether the crowd was pleased, the near-standing ovation at the end was evidence enough.