Director Thomas G. Waites Makes Much out of Shakespeare’s “Much Ado About Nothing” This Summer

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Parent Category: Film and the Arts

Category: Reviews

Published on Thursday, 04 July 2024 17:21

Written by Brad Balfour

Play: Much Ado About Nothing
Director: Thomas G. Waites
Cast: Aislinn Evans, Kaitlyn Mitchell, Artur Ignatenko, Jake Minevich, Jordan Elizabeth Gelber, Stephanie Londoñ, Dillon John Collins, Jacque Coqueran, Gilbert Cole, Surge, Breanna Neomi, Matt Ugly McGlade , Arnie Mazur, John Galligan, Luis Guillen, Bettina Schwabe, Brandon Thomas Lima, David Manganiello, Cedric Allen Hills 

Dates: June 7 – July 7th, 2024
Place: The Gene Frankel Theatre
24 Bond Street
New York, New York 10012

www.thomasgwaites.com

No matter how many times I’ve seen or read William Shakespeare’s considerable catalog of writings, I am confounded by them in one way or another. For that reason alone, another opportunity to witness one of his plays being produced is worth the experience — if only to view his words in action through a new form again. Such was the experience of seeing this production of ”Much Ado About Nothing” — twice. And given that it was co-produced and directed by Thomas G. Waites made it all the more worth seeing.

Mostly cast with members of his TGW Acting Studio, this production offered a great opportunity of seeing it voiced by these mostly young actors who perform a comedy of heft in front of live audiences. As directed by Waites, he makes sure that this is a solid team who interacts well with each other and the audience.

The noted actor, director, and instructor has coached countless actors including Alfred Molina, Vinnie Pastore, Vinessa Shaw, and Oliver Hudson. Originally from Philadelphia, he’s a graduate of  The Juilliard School, where he studied alongside Robin Williams, Christopher Reeve, Frances Conroy, and others. As an actor, he has starred in The Clan of the Cave Bear as well as …And Justice For All, The Thing, Light of Day, and The Warriors. Waites made his Broadway debut in Teaneck Tanzi opposite Deborah Harry and Andy Kaufman. Other Broadway credits include Awake and Sing! with Frances McDormand and Harry Hamlin, King Richard III starring Al Pacino, and Howard Korder’s Search and Destroy. Among his cohorts is star Kelsey Grammer who joined Waites in producing this version of “Much Ado About Nothing” which he calls “a delightful romp.” It’s also presented by Grammer’s Faith American Brewing Company.

Set in Messina, an enclave in Sicily, the play revolves around two romantic entanglements that emerge when a group of soldiers arrive in town. The first, between Claudio and Hero, is nearly scuttled by accusations of infidelity by villain Don John. The second, between Claudio’s friend Benedick and Hero’s cousin Beatrice, takes center stage as the play continues, with both characters’ wit and banter providing much of the humor. Benedick and Beatrice are tricked into confessing their love for each other, and Claudio is tricked into believing that Hero is not a virgin. The play twists words to prompt exposure of the secrets and trickery that form the backbone of the play’s comedy, intrigue, and action.

This version, set in 1940s Italy, plays on the notion of the hot Italian lover and a penchant for the promiscuous — or hints thereof — with a masquerade ball and weddings galore. A sort of feel-good comedy about honor, love and sex, it also demonstrates the confusion that goes along with such concerns. Several roles are alternated between a rotating cast of leads including Aislinn Evans and Kaitlyn Mitchell as Beatrice, Artur Ignatenko and Jake Minevich as Benedick and Jordan Elizabeth Gelber and Stephanie Londoño as Hero.

In addition, the cast features Dillon John Collins (Claudio), Jacque Coqueran (Don Pedro), Gilbert Cole (Leonato), Surge (Don John), Breanna Neomi (Margaret), Matt Ugly McGlade (Borachio), Arnie Mazur (Dogberry), John Galligan (Verges), Luis Guillen (Antonio), Bettina Schwabe (Ursula), Brandon Thomas Lima (Conrade), David Manganiello (Sexton), and Cedric Allen Hills (Balthazar). The production features original music and score by Cedric Allen Hills who does a remarkable job enhancing the production with supporting sounds.

The courtship of Hero and Claudio, mostly in verse, contrasts with the prickly sparring between Benedick and Beatrice, mainly in prose. This dramatic interplay forms the backbone of the story but it’s Shakespeare’s layering of various characters and their implied back stories that make this tragic-comedy both intriguing and confounding.

Hero’s honor, though tainted by rumor, is rescued by truth, part of the story’s philosophical underpinning and rationale for this theatrical fabulation’s existence. While there’s playful flirting, sexual innuendo, and comic relief, the actors — particularly the two sets of romantic leads — makes this production worth experiencing. Ending in a double wedding that’s sometimes more silly than romantic — makes Much Ado’s conclusion ultimately about something: love.

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