A joyous piece suitable for Shakespeare newbies and aficionados alike
Shakespeare, more so than any other playwright, has his work adapted, modernised, and adjusted for today’s audiences. Intermission Youth Theatre’s production Much Ado About Nothing: Remixed seeks to go where many adaptations have gone before, but interjected with some Gen-Z zeal. What this rewrite produces is a joyous piece suitable for Shakespeare newbies and aficionados alike.
The energy from the young company breathes new life into the bard’s famous comedy – updating the soldiers and attending ladies bickering on the shores of Messina of the original piece to a group of up-and-coming rappers and the women in their circle invited on a holiday by a club promoter. Maria Tara Adedapo shines as Beatrice, perfectly counterpointing Helin Ekin’s bubbly Hero. With Rebekar Sunshine Oluyadi as a formidable Margaret and Deca Wright-Wilson as a comforting Ursula, they create a group of girls to rival ‘DP and the Angelo boys’.
DP, or Don Pedro as he’s usually known, leads the pack – both in terms of the story and stage presence. His instincts and timing make his moments on stage a highlight, especially in his dealings with Kyle Langlais’ Claudio, and his estranged brother, DJ, or Don John, played by Lucien-Estick Shaw. Indeed, Shaw’s chemistry with his two hapless sidekicks – Borachio (Osahon Alex-Eguavoen) and Conrad (Zervaun James-Raybe) is a comedic highlight. All eyes, however, must turn to Benedick – the reluctant hero of the story. Nicky Dune plays the comedic moments of the character well, but where his talent really shows is in the more dramatic moments – his take on the Shakespeare language feels fresh, but still accessible.
Rounding out the group of principals is Romarro Salmon’s Leon, reworked as Hero’s brother in the piece, and Francis, played by Denica George. Francis, in this adaption, acts as a placeholder for both Hero’s mother and Friar Francis from the original text. While George’s performance is strong, she is often bogged down by frequent asides into religious teachings, which sometimes feel misplaced. Her greatest moment, however, and perhaps the highlight of the play for me, is her outburst at the men of their play for their actions against Hero.
The adaptation of the piece, by Darren Raymond, is strong overall, but begins to lose pace in Act 2. Indeed, this is where the play’s themes become more complicated, but some story choices feel rather undeveloped. I have no doubt that this young company could have reckoned with the more complicating themes of the original text with gusto, but awkward rewrites hold them back from this potential. Still, Nana Antwi has directed a production that bursts with heart. Rounded out by impressive set design by Delyth Evans and sleek costuming by Bolu Dairo, Much Ado About Nothing: Remixed is certainly something.