‘Much Ado’ is really something

“Much Ado About Nothing”

Directed by Ted Pappas

At the O’Reilly Theater…

“Much Ado About Nothing”

Directed by Ted Pappas

At the O’Reilly Theater

Through Oct. 27

(412) 316-1600

Shakespeare’s plays are always a coin toss. Nobody really contests the Bard’s skill as a writer, but when it comes to bringing his words to life, the vast majority of productions aren’t up to the task. Too many times the audience ends up caught like a deer in headlights, paralyzed by actors speaking their lines in a flat sing-song tone, dressed in cheap costumes with lots and lots of lace. Fake British accents also play a prominent role.

It has to be said, though, that Pittsburgh lives up to the task of taking on Shakespeare more often than not. Each summer, the Unseam’d Shakespeare Company dazzles us with fun and refreshing interpretations, like setting “Comedy of Errors” in 1950s Latin America – and that makes up a thousand times over for last year’s Point Park production of “King Lear” with that living fossil from “The Waltons.”

Now the Public opens its new season with “Much Ado About Nothing.” After its last season, which was a little shaky, this upbeat opener is the perfect beginning – especially because this production pulls Shakespeare off almost flawlessly. From the professional and versatile set, designed by James Noone, probably the best designer in Pittsburgh, to the fantastic chemistry of Beatrice (Deirdre Madigan) and Benedick (Douglas Harmsen), director Ted Pappas brings this play together to provide his audience with a very entertaining evening at the theater.

Praise must be heaped on Madigan and Harmsen for their skilled performances. Madigan performs her lines so gracefully, you hardly notice they’re in verse; Harmsen gives his Benedick just the right amount of ridiculousness with his physical comedy. But their performances are just the icing on a delicious five-tier cake of a cast. John Ahlin smooches, waddles and highly amuses as Dogberry, the word-bumbling constable who helps untangle the easily untangled plot twists so that everybody can get married at the end. And Daniel Krell manages to be even more stoic and obnoxious as the evil Don John than Keanu Reeves in the Branagh movie of “Much Ado.”

As for the costumes, no cheap lace here. David R. Zyla provides us with simple, delicious pieces for the women and the hottest soldiers’ uniforms since “From Here to Eternity.” The masks worn by Don Pedro and his men during a night of revelry are also worth watching. And unlike the drippy, fake-Philip Glass score the audience suffered through with “Dinner with Friends” last March, Michael Moricz’s music is light and breezy. He definitely gives the “Hey nonny nonny” interlude a new breath of life.

Best of all, the show ends with a fun dance number – unequivocal evidence that even though it’s Shakespeare, nobody’s taking it too seriously. “Much Ado About Nothing” continues Pittsburgh’s admirable tradition of helping ol’ Will keep his venerable name.