“Much Ado About Nothing,” now playing at the Synetic Theater, is an enduring classic and among the most popular works of William Shakespeare because of its unparalleled dialogue, whose bouncy rhythm and sharp wit don't seem to have aged at all. The problem is, for the 11th installation of its Silent Shakespeare series, Synetic's production removed the dialogue altogether, turning the milestone comedy into a campy exercise in nostalgia.
Relocated to 1950s Las Vegas, this iteration of “Much Ado About Nothing” is charming and well performed, but it loses any connection to the legendary wordsmith who created it. For the Synetic players, the play transforms into a ballet production. Language is substituted with dance and pantomime to tell the story, a loathe-at-first-sight romantic comedy between the pretty woman and rebellious greaser.
That sounds a lot like the 1978 blockbuster "Grease," equally dedicated to its period costuming, complete with poodle skirts and leather jackets, not to mention musical motifs from the works of Roy Orbison and Elvis Presley. Not bound to any hint of a real-world setting, this genre-bender even draws inspiration from different time periods. Its stage contains a double staircase, lined with twinkling lights and climaxing at a balcony which houses a second level of action. The set, with extravagant ensemble dance numbers and a jazzy score, evokes classical Hollywood and the films of Busby Berkeley.
“Much Ado About Nothing” matches the flair of these classical musicals, adds a slew of pop culture references and is an altogether fun production in spite of the meandering plot. Without the anchor of Shakespeare's words, however, the second act becomes almost unintelligible. Even the flamboyant physical acting of three police officers, the comic relief stand-ins for the watchmen of the original play, seems overlong with the exception of some a few moments. In one such instance, an exceptionally clever jab at the limits of the immobile stage, one of these officers sprints in place to "catch-up" to his partners' car.
The play's basic plot remains intact. It opens not with the drawing of the curtain, but a fade-in from black revealing a recreation of the famed "V-J Day in Times Square Photo." Benedick, the male lead played by Ben Cunis, is a sailor returned from the war. That upon return he is pressured away from romance toward motorcycles and knife-fights is a comment on the unjust expectations of masculinity in an era known for its misogyny.
In this production's version of the 1950s, both criticisms are in play, depicting a world where women are expected to be unwaveringly loyal and men are only men if they have a violent streak. Beatrice, the female lead played by Irina Tsikurishvili, is as enamoured with Benedick as he is with her, but she is much worse to him than he to her, making their instant peace a little difficult to believe. The best performance is by Emily Whitworth as the playful, smitten Hero.
Shakespeare's success did not come from the originality of his stories but from his incredible storytelling. This production loses a step or two by removing his voice, but its camp and cleverness details create an altogether enjoyable day at the theater.
Much Ado About Nothing is running at the Synetic Theater now through March 22 and runs two hours, with one intermission.
