Much Ado About Nothing (2011), Rourke - starring Catherine Tate and David Tennant

Not having the pleasure of living in London, nor the funds to procure a flight there AND tickets to this buzz-worthy production, I was as giddy as a gadfly (do they get giddy?) when Digital Theatre announced that this production was now available for download. After waiting a month, I bought it and announced it on Facebook - forgetting that all of my friends are nerds. This review is now based on what became a viewing party for people who love Shakespeare, Doctor Who, and (now) www.DigitalTheatre.com.

I am of the opinion (the uninformed one, of course), that Shakespeare invented the romantic comedy as we know it today. I don't mean "lovers overcome obstacles to be together, le sigh," romantic comedies - I mean the 80s kind of romcom where the lovers' are their own obstacles. Beatrice and Benedick are the Harry and Sally of the English Renaissance. If I may presume without program notes, I think that is what inspired this production. Like in a good 80s comedy, we're treated to loud music (specially composed for the production - Shakespearean poems and songs set to sax, synth, and electric guitar), garish colors, and physical comedy of the highest caliber. This Messina is a large rotating marble pavilion with giant columns and epically tall folding doors. Lots of places to hide or be seen, as needed.

I'm certain that my love for the two leads did not color my enjoyment of them overmuch. I just LOVED their Beatrice and Benedick. Their timing, execution, and emotional reality was really exciting to watch (although we all agreed that this Beatrice would have totally clocked Don John and Claudio and the Prince for their wedding antics), and the way their interactions with each other evolved throughout the show was so squee-worthy. I know this, for we did squee. Muchly.

And I love seeing modern productions of Shakespeare because I love seeing what sort of little changes directors make. For example, Antonio - Leonato's brother - was replaced by Innogen as Leonato's wife. (Why they needed to name her Innogen and not Antonia is a decision only Rourke understands). This should have colored the scene where Leonato and Antonio inform Claudio and Don Pedro of Hero's "death" with new anguish, but this actress brought none to that scene. She did douse Claudio in champagne, and we all sat up - ready for a throw down, but then she backed off and sighed her lines. Also, we were of the opinion that the crypt scene is never truly necessary, just because it's a little slow and boring and let's get to the end, please!, but it was a short scene here with Claudio's humiliation and remorse palpable. Why it needed to be followed by a night of his drinking in front of the crypt while blaring rock music and contemplating suicide was beyond me.

However, except for those Act 2 disappointments, the gulling scenes were probably the most hilarious I've ever seen. The shock and wonder of discovering love was excitingly evident on Benedick and Beatrice, and the ways they avoided being seen (and at what costs), were belly-clutchingly awesome.

I'm actually really glad I watched this with a group of nerdy ladies - it's who you should always watch a good rom-com with. "Just say it!" we'd cry as Benedick and Beatrice stared at each other awkwardly, or protested their love in front of the family. And oh, how we clapped with glee when they finally did.

GUESS WHAT!? You can enter to win this download for free by entering THIS CONTEST by Monday, January 23rd. Get on it!