High spirits, colorful costumes don’t carry Shakespearean comedy

With sex crimes, wrongful accusations and slippery legislators at the forefront of our national dilemmas, Shakespeare’s comedy “Much Ado About Nothing,” now playing at the Penobscot Theatre, is a well-timed and fun reminder that there’s nothing very new under the sun. It seems that 400 years have lent us little in the way of ending the battle of the sexes, but Shakespeare’s insight into human nature has an ageless quality, and “Much Ado” makes us laugh at the familiar foibles of human relationships.

The action takes off when Leonato, governor of Messina, hosts Don Pedro, the Prince of Arragon, upon his return from supressing a rebellion by his brother, Don John. Claudio, a young lord traveling with Don Pedro, falls instantly in love with Leonato’s daughter, Hero, and by the second act, the two vow to marry. But their plans are thwarted by the vengeful Don John, who weaves a scandalous web of rumors about Hero’s unfaithfulness.

At the same time, Hero’s cousin Beatrice, sworn to her single life, continues a long fought and merry war with Benedick, also scornful of marriage. Their witty skirmishes fuel a testy relationship, which is transformed into love — but not before there has been some clever matchmaking tricks played on the sparring lovers.

Mostly about these two delicate affairs, the play also probes just how far people will go with their doubts, loves, and games in romance and revenge. And ultimately, the story is about power: who has it, wants it, lost it, and is denied it.

Although the play is based on a traditional Italian tale, artistic director Joe Turner Cantu has given the Penobscot production an Hispanic flavor by setting it in California after the Mexican War. Brightly colored costumes (designed by Rick Vicaire), Mexican folk dancing (choreographed by Nell Wade), and live guitar music (performed by Sarah Labov) make the evening a festive occasion indeed.

High spirits and colorful costumes cannot carry a Shakespearean comedy, however, and, in general, the actors fall short of delivering sharp performances. There are many lovely moments in Cantu’s show, but the lines are often garbled, spoken too slowly, or delivered without careful attention to meaning. The range of theatrical skill is quite surprising, too, and the most complete and realistic characters are developed by the members of the supporting cast.

Harold Hynick, as the Falstaffian constable Dogberry, offers an imaginative and entertaining performance. With his hair teased madly, eyes rolling in his head, and voice booming through the theater, Hynick is big in this role. He shows a skill for developing a character and making him come to life in a believable fashion.

Supporting actors Gardner Howes (as Leonato), Peggi Parsley-Cole (as Leonato’s brother), and Kat Minkeyich (as the deputy Verges), Michael Robichard (as Don Pedro) are delightful to watch because they are lively, funny, and complete with the work they do on stage. Chistopher J. Guilmet (as Claudio) is also enjoyable.

But the leads (and too many of the ensemble actors) in this professional production are disappointing.

Beatrice is one of the strongest female characters in the Shakespearean canon; her cousin, Hero, is no shrinking violet. But Odelle Bowman, as Beatrice, and Margaret Miller, as Hero, turn these determined women into giggly, shy school girls.

Similarly, David Gutmann transforms the war hero Benedick into a sniveling, lip-curled whiner, whose words are accompanied by distracting charades-like actions.

Most unfortunately, however, the fire-hot word play between Beatrice and Benedick never sparks between Bowman and Gutman.

Set designer Michael Reidy has suspended copper-colored wire masks from the ceiling, and lowered panels of flowered cloth (behind which actors hide) for garden scenes. The minimal set, constructed for less than $50, nicely emphasizes the theme of deception.

“Much Ado About Nothing,” will be performed 8 p.m. Dec. 14 and 20, and Jan. 2, 4, 10, 16 (signed) and 18; 2 p.m. Dec. 15 and 22, and Jan 12; and 10 a.m. Jan. 15 at The Penobscot Theatre. For information, call 942-3333.