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July 10, 2004 - Subscribe - Contact Us - Rate Card - Place an Ad Valley&State Backpage O&E Sports Archives Classifieds Faith&Beliefs Obituaries Revels June 23, 2004 'Much Ado' mostly fun, gets tepid in parts By Bill Choy Ashland Daily Tidings Perfectly mixing with the Oregon Shakespeare Festival's outdoor Elizabethan stage, the 2004 production of "Much Ado about Nothing," is a light, breezy confection that is sure to please audiences. Credit should be given to director Laird Williamson, who, inspired by 1930s screwball comedies, brings an abundance of original ideas to one of William Shakespeare's most beloved comedies, which opened at OSF on Sunday. Major kudos must be given for the fresh and vibrant performances by Robin Goodrin Nordli as Beatrice, and Brent Harris as Benedick. Their sharp, funny barbs come out pitch perfect. Especially adapt is Nordli, who seems to be emulating screwball screen stars such as Katharine Hepburn, or Carole Lombard in her manner, look and comic delivery of Shakespeare's one-liners. The main plot is set in motion by Hero (Tyler Layton) and Claudio (Jos Viramontes), through the dastardly doings of Don John (Chris Butler) to falsely give the impression that Hero is not pure and true to Claudio. This relationship has always lacked the intensity and vibrancy of Benedick and Beatrice - who have forsaken marriage and have a hearty disdain for each other. Harris, so good in highly theatrical roles in this year's OSF production of "The Royal Family" and last year's "Present Laughter," brings a confidence and comedic swagger to a man who is aghast to find himself falling in love with Beatrice. His line readings roll off the tip of his tongue, perfectly milking his lines for all their worth. Nordli brings a cool, elegant wit to Beatrice, making her put downs of Benedick gleam with perfect comedic timing that clearly brings the language and words of Shakespeare's text to life and makes it her own. And after throwing insults at each other for the majority of the play, when they finally express their love with a fall-onto-the-floor fit of passion, it's clear we are in the hands of two actors in complete control of the play's comic possibilities. As he did with the OSF productions of Pericles (1999) and Julius Caesar (2002), Williamson has a deft touch in honoring the words of the Bard and combining his own artistic touches. Music from the 1930s, such as "Let's Misbehave," play a prominent role in the production, greatly adding to the ambiance. This includes a show-stopping version of the "hey, nonny, nonny," song sung with silky smoothness by Juan Rivera LeBron. In many scenes, characters go off stage doing little dances which gives the play a nice, light feel. Even the villains do a dance step or two. There are also full-blown dance sequences that blend in seamlessly with the rest of the proceedings, such as an enticing tango that fits perfectly with the plays Mediterranean setting. They are deftly choreographed by Susan Grilley. Butler gives an intense, yet comically appealing performance as the "plain-dealing villain," Don John. He does a nice job of showing his character's anger towards his brother Don Pedro (Jeffrey King). He also plays the comedic aspects of Don John well, as when he pops a balloon with his cigarette with a good deal of comedic loathing. Butler adds the right balance of comedy and menace. While a good production, it slows down to a halt in spots, when some of the subplots seem to get bogged down in text and plot formalities and do not sparkle as well as other parts. This mainly occurs during the capture and courtroom proceedings of Borachio (Mirron E. Willis) and Conrade (Shad Willingham) by Dogberry (James Newcomb) and his watchmen, who discover Hero is innocent of not being pure and faithful to Claudio by overhearing Borachio and Conrade conversing this revelation to each another. The acting can't be faulted, but these scenes lack the comedic sizzle and opportunities the text presents, lacking the tomfoolery it strives for. It feels like we are watching the obligatory comic subplot of the play. Despite a few minor quibble's, OSF has done it again - making Shakespeare sparkle with new touches, yet never forgetting that it all starts with the words written by the Bard. They understand that he perfectly captured human nature in all its glory and tragedy and that's why he endures throughout the centuries - he speaks the truth, either through your heart, your mind, your soul or your funny bone. DailyTidings.com Home Page Valley&State | Backpage | O&E | Sports | Archives | Weather | Classifieds Columnists | Faith&Beliefs | Obituaries | Revels | Subscribe | Contact Us Copyright 2004 Ashland Daily Tidings and Ottaway Newspapers All Rights Reserved Click Here Site Search: .:Advertisements:. RESOURCES - Mail Tribune News - ODOT Road Cams