In Jonathan Moscone’s enchanting and stunningly beautiful production of Much Ado About Nothing, we see and feel a musical elasticity of mood (Shakespeare’s own version of “notes”, or “noting”.) There is the merry banter of the opening; the hopefulness of the wooing scene; the hilarity of mistaken identity played out in the dance; and the calamitous consequences of a misanthropic plot against the marriage of two young lovers. After intermission you’ll see mayhem released as the play veers dangerously toward tragedy. Yet somehow, as if by magic, the disastrous events are harmonized in the beautiful simplicty of a plea for redemption and the general joy of a double wedding.
Photo by Jay Yamada.