Playwright: William Shakespeare
At: Chicago Shakespeare Theater,
Navy Pier
Phone: ( 312 ) 595-5600; $48-$65
Runs through: Feb. 26
Canadian director Marti Maraden makes an impressive Chicago Shakespeare Theater debut with Much Ado About Nothing, staging one of Shakespeare's most delightful comedies with the kind of perfection that makes one hope Maraden will become a familiar name around Chicago. Her interpretation of the play is dazzling, effervescent, witty, and contains nary a missed step.
Much Ado About Nothing is arguably one of the Bard's most well-crafted plays: its scenes are sharp and crisp, each with its own distinctive rise and fall, and they build each other to create an extremely satisfying denouement. It's witty. It's complex. It's truly hilarious, yet at the same time touching and some of its plot turns are shocking and dark. The story of two pairs of lovers, one of whom is middle-aged and world weary, suspicious of love and its entanglements and the other, who are young and possessed of the spirit of love at first sight. The first pair need their friends to push them closer together ( and the machinations are hugely funny ) and to make them realize that their posturing is for naught, because these are a pair who truly belong together. The second pair actually needs protection, because among their loved ones is one who hates their happiness and wants to see it destroyed. He very nearly succeeds, but Shakespeare manages to marry the two romances so that one helps the other thrive.
Much Ado About Nothing, and this shining production, is so good that people who claim not to enjoy Shakespeare will enjoy this. It's always charming and always accessible. Maraden directs with a clear vision and a sure hand: nearly three hours pass like magic, and leave you wanting more. Maraden is blessed with a dream creative team to bring her vision to life, including Patrick Clark's lovely scenic design, Marcus Doshi's mood-shifting lighting, Christina Poddubiuk's costumes, and Marc Desormeaux's music ( with sound effects by James Savage ) .
And what performances! If this ensemble is typical of the kind of acting genius Maraden can coax from her players, we can only pray for more. The entire ensemble shimmers and soars, but particularly worthy of mention are Kelli Fox ( as a tart and sexy Beatrice ) and Canadian Jim Mezon, making his Chicago debut at Beatrice's stalwart suitor, Benedick ( his performance is controlled, comic, and most of all, real ) . But for authentic comic genius, timing, and characterization, Scott Jaeck is peerless with his malaprop-using Dogberry ( he elicited spontaneous applause upon two of his exits opening night ) .
Treat yourself to a production that makes you understand why Shakespeare is still around after all these years. Treat yourself to a production that smartly celebrates love.