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Much Ado About Nothing
William Shakespeare

    The Gorilla Repertory Theatre Company, Inc. may seem like a strange name for a group of wandering thespians that specializes in Shakespeare. But, name aside, they are a talented, energetic, courageous group featuring excellent acting, intelligent and creative directing, and set designs by either the New York City Parks Department, or God, depending on one's beliefs.
    The troupe performs outdoors, in various city parks, and the skill and fresh vision they bring to familiar plays is astonishingly good---and it's free. There's not even any standing in long lines as with that other group that does Shakespeare in the park. Audience members just show up, plop down on the grass, enjoy a picnic dinner if that is their wont, and enjoy the show.
    The current production of Much Ado About Nothing is enjoyable indeed. In a meadow surrounded by trees and abutted by a high stone wall that serves as part of the set, the audience is in the middle of a constantly moving troupe of actors. The audience moves almost as much as the actors do, scurrying over to where the next scene is starting. A bit of ambient lighting comes from a conveniently placed, and quite decorative, street light, and also from hand-held super-big flashlights playing on the faces of the actors. Whatever actors are not in the scene being played take their turns as holders of the flashlights. It sounds a bit odd, but it works splendidly, even providing a kind of "special effect" that focuses attention and flickering light on the actors' faces.
    And marvelous faces they are, too. For this particular play to have any chance at all of success the roles of Beatrice and Benedick must be played by very strong actors. Julia Prud'homme as Beatrice has the emotional and intellectual heft the character requires, beautiful but just a bit beyond beauty's first blush. She carries a maturity that the role requires, well-defended and well-practiced at the wit that never seems forced as she uses it to fence with Benedick. And what is Beatrice without Benedick? Fortunately, Jolie Garrett is a perfect match. He portrays the emotional strength the character requires, along with the flint-on-steel, rapid fire wit to match that of Beatrice, but also an emotional vulnerability underneath it all that adds depth to the character. Prud'homme and Garrett are also actors in complete control of voice and body, moving with the perfect assurance that fits the characters, and speaking the language of Shakespeare as if born to it.
    There is some unevenness in the rest of the large cast, but the key roles are just fine. Lawrence Merritt as Leonato brings appropriate humor and pathos to the role, while avoiding the pomp and bombast that a lesser actor might fall into. Jennifer Herzog's Hero is a delight. She finds the perfect balance in the role between innocence and strength, sweet without for a moment seeming sticky. Another standout is Debbie Jaffe as Margaret, the woman who must betray Hero. With plenty of opportunities to take wrong turns, she navigates the emotional life of the character with confidence and believability.
    As with so many productions of Shakespeare's comedy/romances, the comedy doesn't quite work. The humor in the wit of Beatrice and Benedick is just fine, but the scenes with Dogberry and his (in this production--her) followers is problematic. Modern audiences don't get much of the verbal humor in these scenes, and in this production the Keystone Kops routines, hugely physical and only minimally funny, could better have been cut to a bare minimum.
    That minor quibble aside, Brian Olsen has done a fine job directing. He has helped his actors to a fine grasp of the language, and led them to performances that are emotionally satisfying. He is a also a fine story-teller. Even without viewers understanding the nuances (or even the meanings) of some of the language, the story is never in doubt.
    Finally, some credit must go to the fireflies. Fireflies Equity, the union representing these colorful performers has allowed quite a number of them to put in appearances here, adding a visual spark to the production. Their performances are, it might be said, electrical.