Much Ado About Nuthin'

Tonight I saw my first-ever "Western" version of Much Ado, which the company describes as follows:

Set in the gun-slinging Old West, Shakespeare’s romantic comedy of wills and wit tells the tale of two couples, Beatrice and Benedick, who trade barbs instead of kisses, and Claudio and Hero, whose innocent young love is torn apart by the dastardly Don Jon. Throw in some clowning by Dogberry, the master of malapropisms, and original music by Jonathan Sanborn, and we’ve got an afternoon to delight theatergoers of all ages! 

It was a lot of fun; the actors brought great physicality (including physical comedy) into it, though they had to go perhaps a little more carefully indoors than they would have outside in Riverside Park.  Still - martial arts cartwheels from Dogberry and his deputy in a lovely scene with their reluctant prisoners who try more than once to escape the buffoons who've nabbed them.  Really nice.  Some good singing voices, with original music.  I was tempted to sing along with the Hey Nonny Nonny.  No gimmicky re-interpretations (thank goodness), but good solid interpretation that helps breathe life into the Bard's words even for those who might find some of the language obscure.

For what it's worth, this was also probably the most racially integrated production I've seen of the play.  Both Claudio and the Prince are black, as well as Dogberry's deputy.  The Prince's villainous bastard brother is white, however, as are Beatrice, Benedick, and the rest of the cast.  Still, it's a start!  I was wondering at one point if Claudio's insecurity about Hero (and his and the Prince's readiness to believe the worst of her) would be given racial overtones, but I don't think the actors or director "went there" ultimately.

This Claudio makes clear his contrition by kneeling and handing over his gun and his sword to Leonato when he tells Leonato to choose his own vengeance - I thought that worked well.

The one jarring note, for me, was the friar - he presents his idea to save Hero as if he thinks it's pretty ridiculous.  It felt like a post-modern wink-to-the-audience schtick; not my favorite.

I hadn't heard of the Roundtable Ensemble before (although they list productions as far back as 1999), but they are a good addition to my watchlist for Shakespeare in the parks.

(P.S. It occurs to me now, can we say Leonato = lion-born?  That would be pretty cool.)