Seattle Shakespeare Company, 2013-14 Season

An engaging Much Adoset in 1953 opened Seattle Shakespeare Company’s 2013–2014 season. Craig Wollam’s design emphasized Messina’s coastal location, with a shallow, winding canal stage left and masts of sail boats visible upstage. Given the twin deception scenes, one suspected—rightly—that the canal would figure in one of them. A skiff was anchored next to the rock wall that lined the canal, also obviously foreshadowing romantic hijinks. Center stage was the patio of Leonato’s estate, and stage right stood twin doors through which characters entered and exited. A narrow footbridge spanned the canal and connected the stage left platform to the patio. Lighted pillars framed the set and illuminated the way to Don John’s skullduggery and Dogberry’s detective work.

Compositions by Michael Brockman, co-director of Seattle Repertory Jazz Orchestra, echoed the innovative jazz of the 1950s and reflected the influence of American jazz in Europe after World War 2. One of his compositions was the score for Balthasar’s crooning of “Sigh no more, ladies, sigh no more” in the opening tableau, a nightclub scene with characters sitting at tables and imbibing spirits on the patio/piazza or wading in the canal and then lounging on beach towels. This tableau suggested a relaxed, aristocratic society unconcerned about military skirmishes.

Hero and Beatrice waded in the canal and then donned skirts for the return of the soldiers. Hero wore a blue bathing suit and skirt and a black and white sun hat; Beatrice a fiery red suit, skirt, and matching red sun hat with a huge, brim, as if she were trying to hide her face. The men entered in starched white naval uniforms. Beatrice wandered to stage left as Benedick entered and gleefully mocked his military “exploits.” Unable to restrain herself, she moved toward him as she blurted out, “I wonder that you will still be talking, Signor Benedick. Nobody marks you” (1.1.95–96), thus...