Review: MUCH ADO ABOUT NOTHING at The Old Globe

“He’s a little bit country, she’s a little bit rock ’n’ roll.”

Technically that’s not Shakespeare, but it is surprisingly close to the vibe of The Old Globe’s new “Much Ado About Nothing”, where Shakespeare’s merry war of words meets karaoke, cocktails, denim, a beach-resort villa and enough musical energy to make you wonder why the Bard didn’t write a few more songs.

Judging by what was overheard as the audience filed out—“They made that so accessible!” and “That was so fun!”—the combination is working.  

Directed by Barry Edelstein, this Much Ado takes one of Shakespeare’s most beloved comedies and turns up the party. Beatrice and Benedick are still determined not to fall in love; their friends are still determined to make them; Claudio and Hero are still navigating romance and misunderstanding; and Don John is still scheming. But now everyone seems to be in a broad comedy late 80's and early '90s sitcom on vacation at the world’s most accommodating resort.

When you have Eden Espinosa as Beatrice and Tally Sessions as Benedick in your cast, then you understand it was a good argument for making Much Ado considerably more musical than usual.

 Espinosa opens the production with “Sigh No More” and an electric guitar, and gets to show off her considerable vocal chops throughout, including a terrific show-closing number. The karaoke kicks things off in the first act, and music continues to appear throughout the production, often with a character looking toward musician Morgan Hollingsworth and cheerfully announcing, “Take it away, Morgan!” 

Sessions’ Benedick gets the unexpected gift of singing “Wichita Lineman”, a song I did not know prior to hearing it and by the end of the production had heard various iterations of, including a club remix.  A fate that Glen Campbell surely never could have guessed would come to pass.

Espinosa is wonderful as Beatrice, bringing intelligence, confidence and comic timing to her first Shakespearean role. Her chemistry with an equally charming and comedic Sessions is the heart of this, and their Beatrice and Benedick are bright, flirtatious, competitive and believable as two people who would rather make “merry war” for hours than admit they like each other.

The supporting cast embraces the sitcom comedy vibe that the production has overall. Jimmy Smagula’s Constable Dogberry is especially funny, delivering the character with a sensibility that feels like The Sopranos and Brooklyn 99 wandered into Messina. There's even a sitcom-style sight gag, where his First Watch crew, who 100% do not have a clue, are given weapons that look suspiciously like pieces from the board game Clue. 

Jose Balistrieri’s Don John is also a fun characterization. Rather than playing him as simply morose and petulantly jealous, Balistrieri turns him into an impish troublemaker, a chaos agent who seems positively delighted to announce that he is a “plain villain.” Benito Martinez brings an appealing and comedic ease to Don Pedro, while Ainsley Melham has a lovely singing voice as Claudio and Stephanie Hinck gives Hero a sweetness underlined with some feistiness.  

My one lingering complaint is one I suspect I will continue to wish for in every Much Ado: I desperately want Claudio to get slapped harder (either physically or with consequences, director's choice). I want Hero to make him work for it. Hinck’s Hero is less of a wilting flower than some previous interpretations, but I will continue waiting patiently for the production that gives Hero the groveling she truly deserves.

Until then, I’ll happily take the karaoke.

The production’s creative design doubles down on the party. Tilly Grimes’ colorful costumes are playful and character-specific, with Espinosa frequently in bright colors and Sessions leaning into denim. For the entire ensemble, the overall look is joyful and deliberately heightened.

Curtis Moore’s original music is a major asset, complemented by Patrick McCollum’s choreography, Russell H. Champa’s lighting, and Melanie Chen Cole’s sound design. The entire creative team contributes to the production’s sense that Shakespeare has been invited to the biggest party of the summer and everyone intends to enjoy themselves.

Lawrence E. Moten III’s resort villa is a technicolor dream, reminiscent of Saved by the Bell’s summer-season beach resort episodes mashed up with the neon-infused aesthetic of The Max. If you understood that reference, then you are my people; if not, then think bold patterns and a hyper-colorful, neon-drenched aesthetic.

  The aesthetic reminded my companion and me of the summer-season episodes of Saved by the Bell when the gang would inevitably end up working at some beachside resort and getting into increasingly ridiculous shenanigans. If you mashed that summer season together with the aesthetic from their neon-infused diner, "The Max," you’d get something resembling the overall vibe here.

"Much Ado About Nothing" is funny, energetic, musical, and remarkably approachable. There’s singing. There’s dancing. There’s romance. There’s scheming. There’s a spa. There’s a blackjack table. There’s an electric guitar. There’s even a little “Khaaaaan!” for the pop-culture fans paying attention.

Is it a millennial fever dream? Maybe, but everyone was having a great time.

How To Get Tickets

"Much Ado About Nothing" runs through August 30 at The Old Globe’s Lowell Davies Festival Theatre.  For ticket and showtime information, go to theoldglobe.org

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