Much Ado About Nothing, Princeton University Campus, 3/3/11, Class of 1970 Theater in Whitman College.

31

“Sigh no more ladies, sigh no more,
Men were deceivers ever,
One foot in sea and one on shore,
To one thing constant never.

Then sigh not so, but let them go,
And be you blithe and bonny,
Converting all your sounds of woe
Into hey nonny, nonny, nonny.” 

The beautiful, rhythmic, words of Shakespeare waft through a playhouse like summer breezes, gently bending back and parting the tall blades of grass on their way through the air. These lines come from one of the Bard's most under-rated plays. The 'not quite a fairy tale' story of Much Ado About Nothing is matched by few, if any, other plays of its kind. The text is centered on two lead couples, Benedick and Beatriz (the constantly bickering secret admirers) and Claudio and Hero (the meant-to-be but deceived lovers) who sculpt the plot with hands of mischief and passion. They are vital parts of the play’s nature.

The small black theater in the heart of Princeton University Campus is not a popular spot. But that has little correlation with the acting that takes place there. As a play about couples, it is only fair that it should be reviewed couple-by-couple, based on ability to work together.

Benedick and Beatriz are the most famous lovers. They were the only truly mismatched couple. Benedick did everything well that Beatriz was trying to do. He filled the stage when he had to, but also left some of it empty when necessary. However, she did little to expand her stage presence. Other than crossing her arms or knitting her eyebrows a couple times, she seemed manikin-like. Her physical comedy was strong (a scene under the bench), but life seemed to drain from her person when she tried to express the more thoughtful and sensitive side of Beatriz.

Claudio was extremely soupy around Hero, which took away from the fact that he could really act. Hero was quiet and physically introverted. It didn't fit with her character. Angels are trumpet- tongued, and never was there one who kept on a muffler.

Now for the other two, less cliché couples: Leonato and Don Pedro (the prince) were not a love couple, but as a duo they brought others together. However, the Prince swallowed almost all of his lines! He coughed through his one or two speeches and had his back completely to the audience sometimes! Leonato started out this way, but then became stronger as he progressed. As his daughter was shamed, he became more serious and valiant.

Meanwhile, the other couple was the best duo on the stage. Don Jon, the dark prince, and Borachio, the evil-doers. Don Jon seemed less quiet than seething in fury at all times. His face almost twitched with hate whenever anyone spoke to him. His sidekick, Borachio, was extremely slick, dressed in all black. He strutted around like he thought he wore a crown. The two destroyed other relationships with ease.

The last, lone man was Dogberry the constable. Dogberry is a whacky part and few character roles are more glorious. But here he was too composed in terms of posture. He stood and moved little. Dogberry should crawl and strut and jump and roll around the floor.

Though this production had its flaws, if you’re near Princeton, come by and check out some of their plays. They have some real gems!  

(Photos to follow...)