Discover Walla Walla

Sitting midway up the grandstands, the open stage and the backdrop of trees and the Blue Mountains before me, a balmy day having turned into a comfortable night, I couldn't  imagine being in a better place at that moment than the Fort Walla Walla Amphitheater readying to see the Seattle Shakespeare Company's production of "Much Ado About Nothing."

It was the final performance of Shakespeare Uncork'd, a young annual event in its third year. Many of the patrons had consumed gumbo, salad, a tasty dessert and a glass of wine in preparation for taking in the classic comedy.

The Seattle Company decided that its adaptation of Shakespeare's romantic comedy would be set in the Louisiana Bayou. A rather sparse arrangement of a door sandwiched by two Victorian columns, two small white tents, a clothesline, several wicker chairs and a bench, sat in the center of the concrete stage.

The production began with a burst of energy that it would maintain throughout. The opening scene started with much of the cast singing the old Mardi gras anthem "Iko Iko" accompanied by an accordion and guitar.

Tonight's version of "Much Ado" stayed true to the plays original storyline, outside of references to the Bayou setting and modern interpretations of the old Bard's lines.  The success of "Much Ado" always seems to hinge on the performances of the two players portraying Benedict and Beatrice - Benedict the fast quipping independent and garrulous right hand man of Prince Don Pedro, and Beatrice, the quick tongued, stubborn and ,also, independent thinking daughter of Leonardo.

Both characters are the purveyors of much of Shakespeare's humor in this ageless tale of love games and Hans Altweis and Amy Thone came through with stellar performances. The rangy red-headed Altweis brought electricity and force every time he delivered a line or made a gesture and he freely flowed with the witty and absurd lines Benedict throws about so liberally. Atlweis also showed his ability to perform physical humor which only adds to the delightful character of Benedict.

Thone , also, gifted with some skills in physical humor and her tomboyish portrayal of Beatrice and her strong voice with a hint of gravel, established her anti-husband mindset early on. Her loathing for Benedict's frolicking bachelorhood lifestyle was almost uncomfortably palpable as Thone played Beatrice with a notable aggression. She darted at Benedict several time as she unleashed her humorous but hurtful jabs at him, many times Benedict backing up as if for his own safety. This served only to further strengthen the irony of them ending up in each other's arms by the end of the play.

As the manipulative plans of all parties concerned play their way out and the dashing Claudio is reunited with the angelic Hero, the cast carried out the vision of Director, Sheila Daniels, flawlessly. To this reviewer, the vision appeared to be: let's capture the joy of Shakespeare's celebration of love and humor and at the same time his mockery of the irrational follies of courtship and ill fated game playing.

Daniels also served as choreographer and well she should. Much of this play's humor relied on the players' movements. The scene in which Leonato and his family executes its plan to lead both Benedict and Beatriceto believe that each is achingly amorous for other is enhanced by the movements of Beatrice and Benedict as they try to overhear the shocking statements coming from their compatriots. When it is mentioned that is Beatrice who owns such passion for Benedict, Benedict's head pops up over the clothesline at the mention of her name.  The timing is impeccable and Altwies's curly red hair along with his terrific expression is priceless. Also in the scene, Beatrice backs her way behind the lasses speaking of Benedict's undying love for her, only to have them sit on her rump as they speak of her unsavory characteristics.

It's a visual humor that is rarely performed at this high level. Compliments to Daniels for envisioning it and to her cast for being able to execute it.

The gusto with which this play was performed culminated in the crowd clapping to the rhythm of the show ending number as the characters joyfully danced to a rollicking Bayou diddy . . . . Smiles all around.