The quintessential enemies-to-lovers story has taken the Mitchell Theatre stage just in time to kick off a romantic, picturesque springtime in Madison. University Theatre’s “Much Ado About Nothing,” directed by Baron Kelly, is a production of the classic Shakespearean comedy that finds a way to put a smile on the face of every member of the audience.
This classic comedy follows the cynical Beatrice (Malika Daikawa) and her nemesis, Benedick (Logan Vennemann), both sworn to unmarried life and engaged in an endless verbal war. When the army’s triumphant return to Messina brings Benedick and Beatrice together again, their friends and family scheme to transform their rivalry from war to wedding without letting either of the two witty characters discover their plan.
Daikawa and Vennemann complement each other delightfully in wit, timing and energy. As the essential dynamic duo of sharp-witted enemies, their performances are incredibly engaging, especially in moments when the two characters interact.
While Benedick and Beatrice’s rivalry often dominates the stage, the story also centers around the love affair between Beatrice’s cousin Hero (Ella Price) and Benedick’s friend Claudio (Dylan Juni), a lovestruck pair whose upcoming wedding leads to chaos and misunderstanding as the villainous Don John (Niko Valcin) attempts to foil their marriage.
Price and Juni both demonstrate their range throughout the play’s progression. Price maintains a strong grasp on the audience’s hearts throughout Hero’s complicated journey, while Juni’s dramatic shifts in Claudio’s portrayal give the audience a rollercoaster of emotion, toying with their sense of empathy and justice towards his character.
The trio of Benedick, Claudio and Don John’s half-brother Don Pedro, the Prince of Aragon (Christian Carter) plays off of each other nicely, allowing each of the three performers’ individual takes on the characters to shine through. Benedick’s stubbornness, Don Pedro’s charisma and Claudio’s passion blend together to create wildly entertaining banter between the three.
After an eventful and entertaining first act, the scene-stealing constable Dogberry (Andrew Thompson) and his watchmen open the second act with their hilarious entrance into the storyline, just in time to ease the tension of the main plot’s rising conflict.
The beginning of the second act immediately raises the bar for the production’s comedic potential thanks to Thompson’s full-on commitment to the ridiculousness of Dogberry’s character. His outrageous rants and quips are easily some of the most memorable parts of the play as a whole. Supported by an ensemble of equally dedicated and comical watchmen, Dogberry’s scenes alone establish this production as a top-tier comedy.
The production’s Edwardian-era design brings new meaning to the classic script, which notably features some of Shakespeare’s more feminist depictions of female characters. By dressing the characters — particularly the female ones — in Edwardian attire, the show’s design evokes images of women’s suffrage and the first-wave of the feminist movement.
This costuming, designed by Willa Peterson, also serves an aesthetic purpose, creating beautiful and memorable images of the play’s vibrant characters against the backdrop of scenic designer Rob Wagner’s stunning construction of a lavish household in Messina. Visually, “Much Ado” is a delightful work of art with refined, elegant details similar to a Merchant Ivory film or an impressionist painting.
A subtle, yet pleasant aspect of this uplifting production is its musical elements. Bits of singing and dancing contribute greatly to the sense of joyful togetherness that makes this ensemble cast so delightful to watch. Details such as a delightful serenade from Balthasar (Caleb Clark) to the story’s leading men in the first act and a couple of charming group dances pleasantly complement the narrative.
Though its story contains many emotional shifts and shocks, “Much Ado” ultimately leaves a lasting feeling of joy. With playfulness and drama radiating from every member of the lively ensemble cast, the Shakespeare classic has perfect romantic comedy energy.
