{"id":358705,"date":"2024-09-06T19:28:07","date_gmt":"2024-09-06T23:28:07","guid":{"rendered":"https:\/\/dctheaterarts.org\/?p=358705"},"modified":"2024-09-06T19:28:07","modified_gmt":"2024-09-06T23:28:07","slug":"city-of-fairfax-theatre-company-does-a-woodstock-y-much-ado-about-nothing","status":"publish","type":"post","link":"https:\/\/dctheaterarts.org\/2024\/09\/06\/city-of-fairfax-theatre-company-does-a-woodstock-y-much-ado-about-nothing\/","title":{"rendered":"City of Fairfax Theatre Company does a Woodstock-y ‘Much Ado About Nothing’"},"content":{"rendered":"

The City of Fairfax Theatre Company\u2019s outdoor production of Much Ado About Nothing<\/em> sets Shakespeare\u2019s arguably best-loved romcom behind the scenes of a 1975 music festival. We\u2019re talking bellbottoms, fringe vests, and haze from indeterminate sources. The play\u2019s plot is framed as the goings-on behind the scenes of the concert that\u2019s taking place as the musicians finish a tour, as opposed to returning from war, though many musicians would likely not see the distinction.<\/p>\n

\"\"
Noelani Stevenson (Claudio), Gerardo Mijares-Shafai (Don Pedro), and Kevin Dykstra (Leonata) in \u2018Much Ado About Nothing.\u2019 Photo by Heather Regan Photography.<\/figcaption><\/figure>\n

Director Olivia Hinebaugh\u2019s program note expresses the immense meaning to her of this staging: Her parents met at a \u201csmall bluegrass festival\u201d in 1974, and they are nearing their 50th anniversary; however, her father will soon pass away from glioblastoma. As Hinebaugh writes, \u201cMy life with him has been punctuated with music of the \u201970s. Listening to The Who together is a central memory when I think back on my life with him as a dad. My mom shares memories of putting on mascara and listening to records while she looks forward to driving down to meet my father in a college across the state. Their song was \u2018Your Song\u2019 by Elton John, and that is imprinted on my heart.\u201d<\/p>\n

You can\u2019t argue in good faith against a premise so important to its auteur. It doesn\u2019t particularly matter if the context \u201cworks,\u201d or whether the play presents a \u201cnew conversation\u201d about Shakespeare. Let people tell stories. Let them have their catharsis. Even my mom, who prides herself on being a Roger Scruton enjoyer and Western Civilization appreciator, agreed upon seeing this production with me last night. What\u2019s the goal of analysis? Finding meaning and fulfillment. This production has created that for its director. And I\u2019m sure others in the audience and perhaps the cast find themselves in her position.<\/p>\n

Does turning Much Ado<\/em>\u2019s characters into a group of bandmates at a \u201970s Woodstock-y music festival work? I\u2019m not sure. I think it\u2019s easy to look at the play\u2019s classic iconography \u2014 see Kenneth Branaugh and Emma Thompson running around in a sun-soaked field \u2014 and walk away with the idea that this is essentially Mamma Mia<\/em>, and everyone\u2019s having a great time. It\u2019s easy to forget that over the course of this play, Claudio\u2019s heart breaks, a father disowns his daughter, and most crucially, extramarital sex is utterly condemnable.<\/p>\n

Regardless of how you come down on issues of sexual politics and morality, there is a dissonance between the sexual values of the Much Ado<\/em> story and those of countercultural beatniks from the sexual revolution. Shakespeare\u2019s script includes mentions of upholding a woman\u2019s \u201cvirginity\u201d and \u201cmaidenhood\u201d \u2014 to see those sexual politics revealed in the words of a group of people who we see have dramatically different beliefs is jarring.<\/p>\n

This isn\u2019t just about generalized impressions about the \u201970s or what was going on at Woodstock or the values of hippies \u2014 this is about what we see playing out on stage. To have Don Pedro openly inviting multiple women into romantic relations simultaneously \u2014 as well as men, as we see through brief modern-vernacular additions to the script \u2014 and then to have his dear friend Claudio call Hero upon hearing of her possible sexual encounter with another man an \u201capproved wanton\u201d and one of \u201cthose pampered animals that rage in savage sensuality\u201d simply does not gel. Infidelity is one thing and \u201cfree love\u201d among consenting adults is another, but if Claudio holds the values of his bandmates not merely as the cultural lexicon has illustrated the \u201970s but as we see them portrayed on stage, he would almost certainly not speak in these terms.<\/p>\n

\"\"
Noelani Stevenson (Claudio), Jess Singley (Hero), Kevin Dykstra (Leonata), Gerardo Mijares-Shafai (Don Pedro), and Victoria Jungck (Beatrice) in \u2018Much Ado About Nothing.\u2019 Photo by Heather Regan Photography.<\/figcaption><\/figure>\n

I wondered if perhaps the director of this production is trying to say something about the hippie movement \u2014 perhaps something about how it wasn\u2019t as sexually raucous as many may think \u2014 but we literally see that permissiveness, not only brought out of the script through phallic gesturing and hip thrusts at moments but in additions to the script. On top of some of the lines mentioned above, Don Pedro calls Hero and Claudio \u201chorndogs\u201d more than once.<\/p>\n

Oh, and Leonato and the male Friar Francis are married in this production, through the addition of the word \u201chusband\u201d to lines from both of them \u2014 I doubt that people this concerned about female maidenhood and virginity in the eyes of God are okay with gay people. Even if these two characters are performed with chaste demureness of character, their mere orientation would come into conflict with the family of sexual values reflected in Shakespeare\u2019s text.<\/p>\n

Shakespeare\u2019s original Much Ado <\/em>characters were, in fact, inconsistent in the way they walked the talk of their sexual beliefs to at least a small degree. Those double entendres are in the script \u2014 as they are in so much of Shakespeare\u2019s work \u2014 and these were originally soldiers returning from war, after all \u2014 soldiers are not known for their demurity of tongue. But making a genitalia joke and actually going through with intercourse are still very different things.<\/p>\n

And is the setting of the sexual revolution trying to say something about a generation\u2019s changing values during a rebellious time? Perhaps it\u2019s pointing out that some of these hippies wouldn\u2019t practice what they preach? That would work as a point of analysis if the play didn\u2019t still end with the philanderer being cast out and Hero and her family devastatingly grateful to have her \u201cvirtue\u201d restored in the eyes of God.<\/p>\n

Michael Santos Sandoval is a fantastic Benedick, acting with sophistication and lovable wit that are believably shanked by the news that someone\u2019s in love with him. Victoria Jungck is an ideal Beatrice and especially stands out for her formidable acting in the \u201cO that I were a man!\u201d speech. Gerardo Mijares-Shafai gives a lovable performance in the cast as a Don Pedro who is a joker but an ally to his friends when needed \u2014 which makes sense, given that his full title is indeed Don Pedro, Prince of Aragon. Don Pedro must connect with the audience through humor and sincerity, and Mijares-Shafai fulfills the role wonderfully. Mia Shaker utterly brings down the house as Dogberry, the excitable guard whom you\u2019d better not call an ass, or else he\u2019ll bounce up and down and be very upset while making you belly-laugh in the process.<\/p>\n

The costume selections in this performance as designed by Angela Lee are spot-on: Benedick and Beatrice, who carry themselves with a bit more sophistication than their peers, are dressed with a bit more polish and a bit brighter color than their bandmates, helping them stick out as the protagonists.<\/p>\n

I saw this performance on opening night and there were some mic issues \u2014 at least one of the watchmen did not have a working mic, and there were several moments during which mics were scruffed or bumped by all the fur and leather \u2014 but in an outdoor venue where grunge is the name of the thematic game, it didn\u2019t take away much.<\/p>\n

I\u2019m so glad that someone is doing Shakespeare in Fairfax, and there\u2019s nothing more fascinating than seeing a new interpretation of a familiar text. What was I not thinking about before? I hope all who go to see this production bring their own perspectives to the table.<\/p>\n

Running Time: Two and a half hours with one 15-minute intermission..<\/p>\n

Much Ado About Nothing<\/strong><\/em><\/a> plays through September 15, 2024, presented by City of Fairfax Theatre Company <\/a>performing at Veterans Amphitheater<\/a>, 10485-10489 Armstrong Street, Fairfax, VA. Purchase ticket (adult, $27.25; students and aged 12 and under, $16.75) online.<\/strong><\/a><\/p>\n

The program for Much Ado About Nothing<\/em> is online here.<\/a><\/p>\n

COVID Safety: <\/strong>Masks optional. Note that the performance takes place outdoors, and you must bring your own chairs (only a few are available). As a result, you can sit anywhere at a social distance of your choosing.<\/p>\n","protected":false},"excerpt":{"rendered":"

The plot is framed as the goings-on behind the scenes of a 1975 music festival. Does it work? 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