Review: Tavern’s ‘Much Ado’ amplifies hilarity, plays with evergreen sexual politics

There is such madcap energy, grand performances and inspired physical comedy in the new production of Much Ado About Nothing, onstage at Shakespeare Tavern through April 4. Featuring two lead performers at the top of their game, this wild, silly romantic comedy deserves to be seen.

Tiffany Porter and Justin Walker spar as Beatrice and Benedick in this tale of enemies-to-lovers in the Italian city of Messina, and the performers are very evenly matched. In play after play around the city, both actors are known for their strong character choices and charming stage presence. Porter recently stole scenes in a supporting role in The Taming of the Shrew at the Tavern, and Walker received much praise for his work in Doubt at Actor’s Express.

In Much Ado, they are having a blast roasting each other, interacting with the audience and generating serious heat in their romance. They both look incredible with terrific costuming by Anne Carole Butler and Clint Horne. And, man, they are funny.

One of the joys of attending a Shakespeare Tavern show is seeing just how much the players onstage will engage or interact with the audience. Such moments can provide levity to a heavy tragedy. And it can remind audiences in a comedy that, though the language is elevated, it isn’t pretentious or inaccessible. One of the author’s greatest gifts was his ability to engage and amuse an audience, no matter their class or level of comprehension. There’s always some moment in Shakespeare’s work that’s aimed to speak to you.

In this production, there is cartoonish silliness and massive amounts of physical comedy that make surprising use of the entire performance space. Director Kati Grace Kirby knows Shakespeare’s comedies are full of predictable moments — the mixed-up identities; the overheard conversations; the group of friends plotting romantic shenanigans. Here, she takes those oft-stage moments and amplifies the hilarity by playing with more of the space than usual.

Indeed, the highlight of this play is when Benedick and Beatrice, in mirrored scenes, are required to hide while eavesdropping on conversations. There is no corner of the playhouse left untouched by the end of it.

Porter’s line delivery is unmatched. She is able to underline moments in dialogue, spice them up with attitude and turn dark plot turns into big jokes.

Walker, meanwhile, is so goofy and befuddled, his Benedick is an adorable clown.

The plot of Much Ado About Nothing centers upon a Prince named Don Pedro (Tyren Duncan) returning to Messina with his soldiers after a long fight with his brother Don John (Cory Phelps), who has begrudgingly surrendered. The group decamps to the home of a noble named Leonato (Jeff Watkins), where his niece Beatrice and daughter Hero (Lauren Garcia) attract and entertain them with parties and masked balls. One of the soldiers, Claudio (Adam King), is immediately attracted to Hero and aims to marry her. But John has plans to destroy everyone’s happiness by staining Hero’s reputation.

The sexual politics at play in this work remain evergreen, as Beatrice becomes frustrated at how easy it is to wrong a woman while men are able to get away with the most vile, transparent villainy. And Beatrice herself is forced to abide by rules of propriety, while she is at her best when she’s outspoken and bold.

The ensemble is as strong as the leads here. Watkins and King are given speeches in the second act when they’re devastating and even cruel, which gives the comedy moments of real stakes and heartbreak, which also gives Garcia a stunning scene. Duncan brings much swagger and panache to Don Pedro. Phelps’ Don John is understated, by comparison, in his villainy, an intentional contrast from the fun relish everyone else brings.

Music Director Rivka Levin and guitarist John Michael Hoke deserve special praise for several lovely songs that punctuate moments in the play. Hoke, playing multiple roles, has a beautiful singing voice and at one point leads an a capella chorus in five-part harmony onstage.

This is the Shakespeare Tavern at its best.

Where & When

Much Ado About Nothing is on stage through April 4 at the Shakespeare Tavern. Tickets, $30 with discounts available.
499 Peachtree St. NE.

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Benjamin Carr is an ArtsATL editor-at-large who has contributed to the publication since 2019 and is a member of the American Theatre Critics Association, the Dramatists Guild, the Atlanta Press Club and the Horror Writers Association. His writing has been featured in podcasts for iHeartMedia, onstage as part of the Samuel French Off-Off Broadway Short Play Festival and online in The Guardian. His debut novel, Impacted, was published by The Story Plant.