The following article was posted in the Anchorage Daily News February 21, 2006.
No one does lightening-fast comedy like Shakespeare. "Much Ado About Nothing," filled with sharp, witty banter sliced with comedy and drama, is one of the Bard's best examples. Rod Mehrtens' production of "Much Ado" opened Friday at Machetanz Theatre in Wasilla, and it doesn't disappoint.
"Much Ado" is a romantic comedy about climbing the social ladder. On the way home from war, a prince, a count, the prince's shady half-brother and their entourage stop to spend a month with the mayor of Messina. He has a beautiful daughter and a niece with razor-sharp wit, and several comely ladies attend to their needs. Romance springs between Claudio, the young count, and Hero, the mayor's daughter, creating the perfect opportunity for the mayor to elevate his family's social status.
While Claudio and Hero wait to marry, the group undertakes a plot to pair Beatrice, the niece, with Benedick, Claudio's loyal- friend. The only obstacle to their match is that Beatrice and Benedick claim to hardly stand being in the same room. Next, the prince's villainous brother launches a scheme of his own that threatens to split apart the merry group.
Rachel Garza, as the self-possessed and wry yet compassionate maiden Beatrice, shines in Mehrtens' production. Garza is a new addition to VPA's stable of talent, but she has performed in productions from high-school theater to off-Broadway shows. Her skill is evident in her mastery of this leading role.
Timing is critical in making Shakespeare's speedy twists and turns in dialogue clear to the audience. Garza is right on the mark every time. Her graceful portrayal gives Beatrice warmth and depth.
Benedick is played by Morgan Lawrence Hale in his VPA debut. Benedick is the target of most of Beatrice's barbs, but Hale holds his ground and lands a few jabs of his own. With good timing and a skill for physical comedy, Hale is one to watch for in future performances.
Jennifer Martin is radiant as the angelic, love-smitten Hero. Her flawless portrayal of a character whose only wishes are to marry well and make merry balance perfectly with Beatrice's cynical take on love and marriage.
While Martin, as Hero, giddily- whispers with her attending women over the details of her wedding, Ben Harris as Count Claudio reminds viewers of the anguish and joy young love can incite. His character's youthful pride is evident in Harris' stiff-necked approach to opposition. He plumbs the depths of despair, manufacturing real self-loathing and tears when he realizes his wrongs. Shakespeare sets Hero and Claudio up as shallow, infatuated young lovers steered more by heart than head. Martin
and Harris pull off their task, making the audience feel every sob and soaring proclamation.
Mehrtens picked a strong leading cast and supplemented it with a host of talented minor characters. Two performances amid that supplemental group stood out -- those of Constable Dogberry, performed by the wild-haired Bill Campbell, and the friar, by Dan Bohman.
Campbell's portrayal of the drunken, addled constable is filled with misplaced metaphors. He emphatically butchers the English language beyond the point of recognition, leaving audience members shaking their heads in disbelief -- just what Shakespeare was hoping for in this word-centric play.
While Campbell's character is a natural favorite, Bohman's earnest portrayal of the friar attempting to mend Hero's spoiled reputation was an unexpected gem. The friar's piece is short but integral to the plot, and Bohman executed crisp, clear language and a calm demeanor to nail the speech and set the stage for the plot's next turn.
Mehrtens' simple courtyard setting made it easy for the audience to engage with the dialogue. But inconsistent wardrobe choices made it difficult to remember the characters' social standing. A few costumes, like those of the mayor, were tailored and embellished. But those worn by the count and the prince were less distinctive and obscured their roles.
Footwear added to the confusion. Some soldiers' pants were tucked into boots, and others donned suede apres-ski boots that didn't fit their costume or class. The boots seemed more appropriate for the traveling bard but were confusing on characters of higher social standing.
On the whole, Mehrtens did a solid job with "Much Ado." It's a great play in its own right, and Mehrtens' casting made it even better.
Daily News reporter Rindi White can be reached at rwhite@adn.com or 352-6709.
