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William Shakespeare's

Much Ado About Nothing

April 26th - October 27thFestival TheatreTicket Info
Generally Positive Reviews based on 11 Critics
11 Reviews
This is a listing for the 2012 season. For the current 2018 shows click here.

The American Conservative - Noah Millman

Strong cast + more meaningful laughs

“This production takes its primary cue from what is usually treated as secondary: the Claudio-Hero plot. And while the resulting comedy is less-funny than Much Ado usually is, its laughs echo deeper in the belly.”

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89.5 FM. CIUT - Lynn Slotkin

The good and the bad

Slotkin, formerly a regular on CBC radio, covers Much Ado About Nothing and Cymbeline. On Much Ado Slotkin notes “Christopher Newton’s production to be dull, often unfunny, clumsily directed, with lots of subtext getting away from him or ignored.”

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Postmedia News - Jamie Portman

A winning trifecta

The review covers Cymbeline, Much Ado About Nothing and The Matchmaker, opening with strong praise: “It’s not often that a Stratford Festival opening week hits the bull’s eye as decisively as it has with the three plays that have launched its 60th season.”

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The London Free Press - James Reaney

Many merry laughs and melancholy

“Director Christopher Newton has imported many Shaw Festival hallmarks — boaters, pianos, dances — but what stays with me more is the way this Much conjures up everything from Taming of the Shrew to The Winter’s Tale to Measure for Measure (the fantastical duke of dark corners).”

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The Toronto Sun - John Coulbourn

Newton keeps a firm eye on text and...

“Newton’s production is pretty straightforward, rising and falling on the strength of individual performances….veteran James Blendick adds yet another over-embroidered performance to his resume and Richard Binsley blessedly undersells his performance as the misspoken Dogberry — a boon, at least to those of us rarely amused by this particular buffoon.

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Stratford Beacon Herald - Laura Cudworth

Carlson the one to watch

Cudworth notes that Carlson performs with the kind of authority and variation displayed by the late William Hutt, she writes “He routinely turns in memorable performances with an ease and clarity rarely seen. Last night’s performance was no exception.”

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The Globe and Mail - J. Kelly Nestruck

Show stopping performance

Nestruck writes that Deborah Hay “hits a new career high with her poignant portrait of a woman who hides personal pain and a desperate need for love behind a sharp and sassy exterior.” Tyrone Savage and Juan Chioran are also noted for giving excellent performances.

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Broadway World - Kelly Cameron

Hay hits her mark with physical comedy

“Watching the two actors play off each other is the high point of this production, as they do a ‘will they or won’t they’ dance that Hollywood rom-coms could learn from….The comedy would make this an ideal first show for a younger crowd, especially those who may not have much exposure to Shakespeare.”

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The Record - Robert Reid

A visually dazzling, highly...

“Newton’s production is not radical, but dependable and sure-footed. It doesn’t shy away from the hue of bitterness that seeps into the play’s robust comedy. Carlson & Hay anchor a solid cast featuring James Blendick as Leonato and Juan Chioran as Don Pedro. Gareth Potter exercises enviable restraint as the slimy Don John and Richard Binsley’s Dogberry is less over the top than often portrayed.”

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Toronto Star - Richard Ouzounian

Hay & Carlson shine in pleasant, but...

“There’s enough goodies to push this show into your “ought to see it” category, but there’s also enough things that shouldn’t have gotten by the Theatre Police. The first question to be asked is: why is this show set in Brazil around the turn of the 20th century?…”

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