[ Golden Gater Online - December 11, 1997 ]
Erwin D. David
Staff writer
Comedy. Romance. Redemption. Iambic pentameter. 16th century literature ... and doo-wop ?
As unlikely as it may sound, all these elements are cohesively melded in SF State's unique reworking of William Shakespeare's "Much Ado About Nothing," which runs Thursday through Sunday at the Little Theatre.
Director Rhonnie Washington has taken the Shakespearean theme of love and romance and successfully interspersed doo-wop classics from the '50s to enhance the ageless story of wit and redemption.
Although Washington claims that adding doo-wop is not so much about modernizing the play as it is keeping it timeless, it isn't hard to contest his ideals. Shakespeare is no easy read, and his works can be laborious and difficult to understand for those without the patience to learn them. When doo-wop is used to augment "Much Ado About Nothing," Shakespeare becomes less overwhelming.
Although it seems that Shakespeare classics need to be modernized in order to be appreciated by today's MTV culture (last year's glossed-over cinematic version of "Romeo + Juliet" comes to mind), there is no real changing of a Shakespeare play, otherwise it wouldn't be Shakespeare. Only the interpretation remains variable.
"Much Ado About Nothing" revolves around a war of wits between Benedick, an apathetic bachelor who speaks unfavorably of women, and Beatrice, a sharp-tongued shrew who scorns men. Through humorous and careful planning by their mutual friends, Benedick and Beatrice inevitably fall victim to each other in the end.
Brandon Turner portrays Benedick's flamboyant persona with just enough wit and sarcasm. In one of the play's most memorable scenes, Benedick camouflages his face behind a small tree branch and scurries around the stage trying to avoid Don Pedro, Claudio and Leonato (who all act as though they're unaware he's eavesdropping) as they plot to get the discordant couple together.
His counterpart, Beatrice, is played with impressive fervor by Amber Wolfe, who holds her own in defending against Benedick's chauvinistic commentary. The chemistry between her and Turner is electric and effectively courses throughout the whole audience. Not surprisingly, they are involved romantically off-stage, as well.
Perfectly contrasting the quarreling couple are sweethearts Hero (Julia Knippen) and Claudio (Michael Kroeker), who both fall in love from the moment they lay eyes on each other. Starry-eyed and smitten, Claudio wants to marry the Hero, an idea that is greeted with dismay and disapproval from the smug Benedick, who questions his logic.
Alexander Lewis is almost too convincing as the antagonist Don John, the "man of not too many words." The mere stoic presence of him on stage was enough to conjure up laughs from the audience.
Since the entire production takes place on Leonato's patio, the set -- complete with a stucco-facade background and foliage -- was simple, yet effective, with the doo-woppers (a.k.a. The Revelers) appearing everywhere from the top of the set's roof to the set's appendages.
The only confusing aspect of this version of the play was trying to establish early on what part the doo-woppers played in the production. Initially, it seemed that their appearances were incongruous to the on-stage action, and perhaps meant to distinguish scene changes, but in later scenes, cast members acknowledged their presence. Nonetheless, Washington's vision of using doo-wop to explain the timelessness of love and romance becomes realized throughout the production.
The Revelers sang remarkably well. Their versions of the Tymes' "So in Love," The Platters' "Smoke Gets In Your Eyes," and Nat King Cole's "L-O-V-E," are enough to coax nostalgia enthusiasts back to the soda fountain for egg creams and cherry colas.
Taking a Shakespeare play and adding a (somewhat) modern-day twist to it seems to be the norm these days, and incorporating doo-wop music does add to the substance of "Much Ado About Nothing." At times, the atmosphere almost felt like a musical. Undoubtedly, most Shakespeare purists will, nonetheless, prefer the original.
SF State's production of William Shakespeare's "Much Ado About Nothing" continues on Wednesday and closes on Sunday, Dec. 14 in the Little Theatre in the Creative Arts building. Thursday through Saturday shows start at 8 p.m., with a 2 p.m. matinee on Sunday. General admission is $9. For more information, call (415) 338-2467.
[ Golden Gater - December 11, 1997 ]