Much Ado About Nothing

Shakespeare’s Much Ado About Nothing doesn’t really need a lot of adapting or updating.  It’s contemporary already – although this version is set in the 1960s.

It has the enormously popular rom-com trope of Beatrice (Annabelle Tudor) and Benedick (John Vizkay-Wilson) who meet-cute only to clash, insult each other, and generally act as if they hate each other.  But through some skilful trickery by their friends – who know better, of course - they discover that really… It’s touching and funny at the same time.  And Shakespeare is smart: he gives the lovers a test and something to do together – fight for Hero’s (Tess Parker) innocence and good name – thus cementing their bond. 

Overall, we have a demonstration that women are smarter, more loyal and stronger than men.  Credulous Claudio (Stephen Coutts) is too easily persuaded that his intended – Hero - has been putting herself about.  We have some skulduggery – for a fee – urged by poisonous Don Jon’s (Jacqui Whiting) stooges, Borachio (Jackson Cross) and Conrade (Ethan Rutledge) to besmirch virginal Hero’s reputation.  (Why does Don Jon do this – and then flee?  Because she can and she does.) 

We have jolly authority figures who like to party – the General Don Pedro (Chris Broadstock) and Hero’s father Leonato (Karlis Zaid) who immediately believes the ‘proof’ that his pure, beloved daughter Hero has been a very bad girl. 

And finally we have some inept and very funny cops, malaprop Dogberry (Bridget Sweeney, an inspired comedian in this role and later as the Priest), snarly tough guy Verges (Asher Griffith-Jones) and Balthasar (Alice Albon), here an eager Cub Scout who fortunately can read and write – a surprise twist that resolves a plot strand.

The Melbourne Shakespeare company, as is their wont, ‘edits’ quite a lot of text (the show runs a hectic 90 minutes); they put the emphasis on comedy - and make it work a treat. 

The ‘60s setting means ‘60s pop songs – The Kinks, Dusty Springfield, Tom Jones, Dion, The Drifters – and more - but they’re not just thrown in at random.  The songs are entirely appropriate to the plot and situation - and usually accompanied by energetic, period dance numbers because these are party animals.  When the plot to malign Hero is set up, we get The Night Has a Thousand Eyes.  When Claudio, on his high horse, rejects Hero, we get Run-around Sue.  And when all the kerfuffle, plots and deceptions are resolved, the women remind the blokes, You Don’t Own Me.

Director Emma Austin – a regular with this company – keeps the whole thing rocketing along and she has no fear of the farcical, over-the-top physical comedy, mugging, or general silliness.  She also uses the park setting so that characters not in a scene are seen strolling about in the distance, chatting, dancing or plotting, giving us a continual sense of life going on in Leonato’s palace. 

Every member of the cast hurls themselves into the action.  Standouts are Stephen Coutts’ Claudio – this man can emote, clown and sing – and Annabelle Tudor – a very tough, don’t-mess-with-me Beatrice.  She sets up quite a challenge for poor Benedick - a pussycat who protests too much - to overcome.  And her manifestation of panic is truly hilarious.

This version of Much Ado has only next weekend to go – two shows, 3pm and 7pm each day (how do they do it?) so get yourself to Malvern, bring a picnic, a blanket, maybe a camp chair and have a great time.

Michael Brindley

Photographer: Chelsea Neate