Theater review: Much is right about 'Much ado'

With "Much Ado About Nothing," currently running at Theatre in the Round in Minneapolis, Craig Johnson demonstrates again that he is one of the area's finest directors. He directs with a sharp wit that elucidates the enchanting language and with a sure mastery of physical comedy. His carefully modulated production captures both the play's mature cynicism and its romantic idealism.

"Much Ado," one of Shakespeare's brightest comedies of love and courtship, also flirts with darker potentialities when the romance of Hero and Claudio is sabotaged by the vindictive Don John. Their sweet devotion plays out against the tempestuous relationship of Hero's cousin Beatrice and her sparring partner, Benedick.

The production moves the setting to Italy in the 1950s, which proves an inspired choice. Michael Hoover's setting and Carolann Winter's costumes give the staging a light and breezy feel.

The production is blessed with an ideal Beatrice and Benedick. Rarely have disdain and scorn been so caustic and funny. Wade A. Vaughn's Benedick is brash and cocksure, a perfect complement to Amanda Whisner's tart Beatrice. And her passionate rage gives the comedy an additional emotional grounding. Their crackling chemistry has the audience rooting for them as a couple from the beginning.

As Claudio and Hero, Robin Everson and Anna Sundberg lack their comrades' deft handling of language. But he captures Claudio's hotheadedness and she, Hero's naiveté, making their romance charming and its derailment believable.

Ryan Lindberg makes the foul-tempered Don John too obvious. He is so clearly a villain that it's a wonder anyone buys into his deception.

A trio of mature voices -- Robert Larsen as Hero's father, Linda Sue Anderson as his sister and Eric Knutson as Benedick and Claudio's commanding officer -- create a strong emotional and linguistic foundation for the rest of the production.

Shakespeare introduces a constable and his henchmen, who vindicate the wronged Hero. Their incessant malapropisms become tedious and their scenes seem drawn-out and enervated, especially in comparison with the brisk pacing of the rest of the production.

That one misstep does not compromise Johnson's adroit cleverness and his cast's ability to embody his vision. It's a pleasure to experience the work of such a talented storyteller.

William Randall Beard writes regularly about theater and music.