by Nick Growall
Staff writer
Deception is the name of the game in Theatre at Southeastern’s production of William Shakespeare’s “Much Ado About Nothing,” which is delivered as a sweet, off-kilter comedy in the vein of classic Broadway.
The story follows two pairs of lovers, Benedick (Dustin Curry) and Beatrice (Rebecca Sparks), and Claudio (Tanner Risner) and Hero (Rebecca Ford).
Benedick and Beatrice start the play at each other’s throats, proclaiming their disdain for love and marriage, as well as each other. Their battle of sexes contrasts with the sweet, young “puppy love” of Claudio and Hero, which acts as the other main arc of the story.
By means of “noting” (which sounds similar to “nothing,” and which is gossip, rumor and overhearing), Benedick and Beatrice are tricked by Claudio, Don Pedro (Trent Pratt) and Leonata (Minda Rocha) into confessing their love for one another.
However, complications arise when Claudio is tricked into rejecting Hero by the villainous Don John (Domanick Hubbard).
Curry and Sparks hits all the right notes, ranging from their hate for each other to the revelation of their true feelings. Curry, who starts off stiff and cold to the idea of love, suddenly melts at the thought of it, and his lovesick transition comes off well through his expression and comedic timing.
Sparks also takes a swing at physical comedy, connecting to generate big laughs for the audience. Her fiery take on Beatrice gives off the sense of a strong, independent woman, who is just as comfortable in the tender moments with Benedick.
Director Dell McLain has injected his brand of old-school comedy into the play, which benefits from some of the over-the-top moments of physical comedy. In several situations where those unfamiliar with Shakespeare’s story might get lost in the poetic language, the actors do an excellent job of emoting to the audience, keeping even the most non-savvy viewers engaged and entertained.
Risner and Ford also shine as the younger couple, portraying an innocent love that goes awry to great effect. Risner sails through the wave of emotions that Claudio experiences with great tact and skill, and Ford gives a warm presence on stage, making us feel her heartbreak as Don John’s plan comes to fruition.
The play is very much an ensemble piece, and its supporting players surround the leads with life and colorful characters. Hubbard gives a superbly devious performance as Don John, portraying him with a calm and calculating manner.
Pratt fits right into place as the straight man between Claudio and Benedick, working between the two with Leonata to work out the two couples’ problems. Rocha gives a graceful performance, acting as the motherly figure of the play.
However, the stand out performance of the supporting cast has to go to Landry Miller as the constable Dogberry. Fumbling about the stage, Miller chews the scenery with his mile-a-minute speech and peculiar physical cadences. As the accidental hero of the play, you’re never quite sure what’s going on in his head, and you’re not sure if knows himself, but the results are quite hilarious.
Something must be said about the scenery, with its beautiful Italian styling. Scenic designer Corey King and his crew truly outdid themselves with their attention to detail and overall design. From the two-story home to the fountain at center stage, the background does an excellent job of transporting you back to the story’s setting.
While some of the dialogue is lost in translation to the untrained ear, Southeastern makes up for this with classic physical comedy and great performances that present this play to modern audiences as a sweet, romantic comedy everyone can enjoy.