PROVO — The works of William Shakespeare are daunting for some theatre companies. Grassroots Shakespeare Company’s mission is to evoke the original spirit of Shakespeare’s productions. Their productions have a mere ten-day rehearsal period known as “original practice” that is a collaborative process; there is no director, no scenic designer, no costume designer, no lights or sound technicians, minimal props, and no fourth wall.
I could feel that spirit of Shakespeare’s original intent in this production performed on an intimate stage at the Hive Collaborative. People often forget that Shakespeare used to be for the common people– low-brow entertainment for the masses. Much Ado about Nothing is an excellent reminder of this principle in a comedy that will leave you charmed and sore from laughter.
Upon my arrival, I heard what sounded like a party in the theatre; turns out, it was an intimate rock concert from a few of the cast members accompanied by the band. The show had already begun. They played covers of songs including “Everybody Talks,” “Can’t Help Falling in Love,” and “Friday I’m in Love” as they encouraged the audience to sing along.
The performers told everyone to move to the first few rows to be closer to the stage– I got a nice front-row seat among the other dazzled members of the crowd. We were encouraged to boo the villains, “aww” at the couples, and even to talk during the performance. By the time the actual play started, I felt right at home with the company and audience.
Much Ado about Nothing is one of Shakespeare’s more popular comedies that in recent years was loosely adapted into the popular rom-com Anyone But You. The story follows two romantic pairings created from the meddling of friends and family while the villainous Don John attempts to thwart their happiness.
Much Ado plays through February 22 at The Hive Collaborative. | Photos: Beth Moulton
The women, Beatrice and Hero, are cousins of opposite temperaments while the men, Benedick and Claudio, are friends and soldiers returning from battle with the prince, Don Pedro. Hero and Claudio fall in love at first sight but their love is threatened by Don John’s accusations. Beatrice and Benedick are sworn enemies in a battle of wits, but Don Pedro uses well-intentioned trickery to bring the cynical couple together.
The play was an excellent selection for the company’s Valentine’s Day season because of its humor and simplicity. Grassroots Shakespeare Company thrives in comedy. Every cast member had excellent comedic timing with a personal flair. The performance was dangerously close to being too silly, but the emotional beats peppered throughout the script helped the cast maintain the story’s focus.
The short rehearsal period and collaborative process allow for some improvisation within the structure of the performance, making each show somewhat unique. The cast and band clearly had fun while expressing their unspoken but deep respect for William Shakespeare’s work.
For the technical side of this review, I will simply say that the band (Chase Schetselaar, Gary Argyle, Adrian Montclaire) was integrated seamlessly– I was aware they were there, but they were never dominating the action. Actors sometimes engaged with the band, and they also were the “sound effects” for the performance. The sheer volume of music learned for this performance was impressive with such a small rehearsal window. The cast and band worked together as a unit in this production which perfectly adds to the ensuing “unscripted chaos.”
Without further ado, let’s move to the talented cast. Autumn Bickmore portrays the scathing Beatrice with elegance–even when rolling around on a scooter. Bickmore cleverly navigates the mercurial tone required of her character, and has excellent chemistry with the cast. I couldn’t quite tell what the connecting theme of the costumes was (if there was one) but the eclectic outfits seemed in keeping with the overall approach to this production. Bickmore emulated Rosie the Riveter with trousers, work boots, work gloves, and a red bandana; I admired her decision to pair this look with a bright pink top and a corset to bring out the femininity in Beatrice.
Kira Halterman is the roguish Benedick that falls for Beatrice. The moment Halterman entered the stage, she convinced me that she was perfect for the role. Halterman’s physicality elevated her portrayal with more than just a masculine walk by approaching Benedick’s presence as a person–that person is smooth but undignified with his large, fluid movements. One of my personal favorite Benedick moments involved Halterman commando-crawling through the front row of the audience and trying to impersonate a band member to avoid being seen by Don Pedro. The complete ridiculousness of the scene is followed by a moment of self-reflection for Benedick;Halterman’s love of comedy shines even in this serious moment.
Goldie Harrison is the only romantic lead that is double cast; I thoroughly enjoyed her Hero and her minor lackey character, Verges. Harrison wholeheartedly embraced femininity in the costuming for Hero; this decision instantly made her stand out in a cast full of pants. Hero unfortunately has the least complex storyline of the main characters, but Harrison’s emphasis on innocence provides a moral grounding for the show. I have to mention here that her Verges was hilarious as she wore a comically large army hat that covered half her face like a soldier caricature.
Photo: Beth Moulton
November Hunt rounds out the main four as the troubled Claudio. Hunt put a literal heart on their sleeve to show that Claudio’s openness about his emotions. Hunt’s facial expressions were their strong suit as the most emotionally intense character in the play. Like Harrison, they ensured that their character was more than just romance; Hunt and Harrison also had electrifying chemistry. They had their funny moments, of course, but Hunt’s strength was in their grounding presence in an ensemble that would have flown too high without them.
Beth Moulton pulled double duty as the villainous Don John and the wizened Leonato (Hero’s father); her duality was impressive. Moulton’s Don John was a hilarious addition to an already over-the-top script while her Leonato had a gravity that led the moments of tenderness of the play. Her comedic timing is excellent, and she embraced the audience’s booing like a villain should. Moulton’s costume for Don John was the cherry on top with a drawn-on mustache, dramatic cape, and a prop cat to stroke sinisterly. It had all the makings of the stereotypical mustache-twirling villain, and it was marvelous.
All of the hours of work that went into this production paid off in the cohesive unit that was Grassroots Shakespeare Company. The show was a collaborative process and it showed wonderfully. Every cast member had standout moments, and the musicians were a genius addition. This version of Much Ado About Nothing is an absolutely ridiculous romp that works marvelously.
Despite the Old English language in the script, the story was easy to understand. The cast created a vibrant ensemble of characters that one could relate to hundreds of years after publication. Shakespeare’s works may now be known as scholarly, but he wrote for the masses, and I think this production has broad appeal. I certainly had a great time.
