Shakespeare’s “Much Ado About Nothing” is a beautiful, sometimes somber, and often humorous play. The story follows an angry and resentful brother, Don John, who hopes to spoil a wedding. Meanwhile, a subplot revels in the comic romance of a seemingly mismatched couple, Beatrice and Benedick, a loquacious couple who “would talk themselves mad” but gradually find that they are ideal for each other. As is common with Shakespeare, however, the plot and themes are far richer than this plot synopsis would suggest. The Little Theatre of Alexandria is currently staging a marvelous production of this work; while mostly faithful to the Elizabethan English of the original, the performance is also accessible to a general audience. 

Set in New Orleans (at the Messina Café, in tribute to Shakespeare’s Italian setting), this version, directed by Joey Pierce, has a distinctly modern U.S. Army take on the costumes, and occasional brief snatches of modern slang (“Wait up, guys!”) help the non-Shakespeare-connoisseur and the younger audience member understand the plot. Similarly, the use of physical, sometimes slapstick, comedy reminiscent of Charlie Chaplin or Buster Keaton helps convey meaning, such as a famous scene where Benedick overhears his friend’s trickery about Beatrice’s love for him. All this renders the performance suitably comedic while increasing the accessibility of the storytelling. This performance also uses stage lighting (lighting design by JK Lighting) and the lack thereof extremely well. The use of near darkness during a mock funeral scene is a captivating touch, and the employment of intense washes of color to show the emotions of the characters is stellar. 

One of the well-loved character sets of the story is that of the watchmen, led by their captain, Dogberry. Though they are a sillier part of the story compared to the wicked machinations of Don John and the clever wit of Benedick and Beatrice, the actors in these roles are wonderful at conveying the less-than-brilliant personas required by the script. This subplot also features a modern twist in this production, for the guards are at one point caught watching television rather than doing their job of keeping the grounds safe.

Headed by Seth Rue as Benedick and Jess Rawls as Beatrice, the acting is very good overall. Michael McGovern is outstanding as Don Pedro; Mr. McGovern convincingly moves between comedy to near tragedy, a difficult transition which the plot requires. Jeff Elmore, as Dogberry, the captain of the guard, is very humorous, and the malapropisms voiced by his character—such as “Dost thou not suspect my place? Dost thou not suspect my years?” when “respect” is intended—come quickly and naturally.  Paul Brewster as Leonato, the host, is especially fine, and his enunciation and acting prowess bring a welcome Shakespearean tone to the proceedings.  Finally, Judy Rolph Ebner as Leonato’s sister Antonia (Leonato’s brother Antonio in more traditional productions) is wonderful at comic pauses and deadpan reactions.

The production also includes a few musical numbers, at one point especially seizing upon the New Orleans setting and that city’s reputation for jazz to include the Artie Shaw jazz classic “Gloomy Sunday,” sung and played at a supposed funeral.

This production of Shakespeare’s “Much Ado About Nothing” wonderfully combines tradition and innovation. The show runs at Little Theatre of Alexandria through April 19, 2025  For more information, please visit: /thelittletheatre.com.