Review: MUCH ADO ABOUT NOTHING at Shakespeare Dallas

For those who would endure the Texas heat, Shakespeare Dallas spins brings to life one of theater’s much-beloved comedies – and in platform heels.

Likely written in 1598 or 1599, Director Jenni Stewart pulls forward Shakespeare’s Much Ado About Nothing by nearly 400 years, setting the bard’s work in the 1970s. The show opens on the square of Messina, set with a two-story tower and decked with retro sconces. There, the cast spins the classic story with a dash of disco.

Taking center stage (and stealing the show) are Beatrice (Nicole Berastequi) and Benedick (Marcus Stimac). Not only do the actors capably deliver witty banter, their tones, inflections and gestures help demystify Shakespeare’s often-complicated stanzas. With a shake of the hips, Berastequi brings to life Beatrice’s sarcastic, flirty and loyal nature. And with a variety of voices and expressions, Stimac fools the audience into believing Benedick’s (ill-fated) commitment to bachelorhood. Together, they trade barbs and spin romance, including a bell-bottomed, bedazzled masquerade party not to be missed.

They’re joined by an outstanding and talented cast, including Leonato, governor of Messina (Shawn Gann), the troublemaking Don John (Adrian Godinez), the loyal and beautiful Hero (Thi Li), the princely Don Pedro (Tommy Stuart) and the wooing Claudio (Caleb De La Torre).

Of course, what would any Shakespearean cast be without a spirited ensemble – particularly one that leads the crowd in a chorus of “hey nonny nonny” (from Sign No More Ladies by David Snell)? The loyal Balthasar (Emiliano Pliego) adds humor, laughs and a few catchy choruses.

Together, they bring the hustle and the heat (literally) to what’s sure to be a summer favorite.

Much Ado About Nothing by Shakespeare Dallas at Samuell-Grand Amphitheater, 1500 Tennison Parkway, Dallas, TX 75223. June 7-July 16. NEXT UP: King Lear, September 14-October 15. For tickets or more information, click here or email info@shakespearedallas.org.

Photo credit: Linda Blase

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