{"data":{"id":"3617c65d-859b-40f1-8dd5-1d6e503f00d3","originKind":"SYNDICATED","title":"Review: Much is definitely ado as Freewill Shakespeare Festival makes triumphant Hawrelak return","summary":"Turns out you can go home again. Audience members have reached that happy conclusion with the return of Freewill Shakespeare Festival to Hawrelak Park’s Heritage Amphitheatre, from which the troupe was rudely thrust more than five years ago.\n\nThankfully, COVID-19 and the city of Edmonton’s prolonged renovation of the park are behind us and a homecoming at Freewill’s traditional stomping ground feels just right — both fresh and familiar as this year’s festival kicks off its two productions.\n\nRunning through June 28, the festival’s first offering — Much Ado About Nothing — was the play that Freewill was set to launch when the pandemic arrived. The second show, Something Rotten!, is a Shakespearean musical to be seen from July 1 to 12 in the amphitheatre.\n\nWhile the 10-member ensemble for Much Ado About Nothing is smaller than usual for Freewill, the talented cast makes it work, with several actors doing double duty. (I always love it when actors play more than one role; each role feels all the richer for double casting, as if a shadow of the other is present, making me think hard about the all the elements of character.)\n\nAs the show opens, a Sicilian governor named Leonato (Troy O’Donnell) is on stage with the good-humoured Prince of Aragon, Don Pedro (John Ullyatt) and his brother, the cranky pants Don John (Ron Pederson) as well as the fresh-faced Count Claudio (Braydon Dowler-Coltman) and suavely handsome Benedick (Jesse Gervais). Also making an early appearance, wine glasses in hand during a courtly dance party, is Leonato’s sweet daughter, Hero (Rochelle Laplante) and his sharp-tongued niece, Beatrice (Vanessa Sabourin).\n\nTwo parallel love stories are set in motion as Claudio and Hero find themselves attracted to each other, while Benedick and Beatrice begin a “merry war” of words that disguises the sparks between them as barbs.\n\nComplications ensue. Even as Claudio and Hero appear to be tripping innocently toward a stylish outdoor wedding (kudos to wardrobe designer Ami Farrow for the stunning gowns), a convoluted, dual-pronged and pointedly evil plan by Don John upsets the proceedings. Claudio (not much of a catch in the end) abandons Hero at the altar after hearing lies that paint her as unfaithful. Her father also believes the falsehoods and suggests Hero would be better off dead than to suffer the shame now tainting her existence. Hero’s aunt Antonia (Nadien Chu) works to clear her niece’s name and thereby bring Claudio back.\n\nMeanwhile, Beatrice tries to persuade Benedick to murder Claudio (now there’s an idea) and the play carries on in a messy fashion until the end, when there’s a cleansing dance. Given the preceding two-and-a-half hours, it’s hard to believe that characters live happily ever after. But at least they’re free of murderous threats and backstabbing by folks who ought to know better.\n\nThis isn’t an easy play for the audience to understand (thank goodness for the synopsis in the program), but strong direction by Ian Leung and solid performances by every cast member make it easier to accept the confusing plot points and morally questionable elements of the play.\n\nGervais and Sabourin are stand-outs in their respective roles. Gervais has many opportunities to flex his comic muscles: his body and voice convey the ridiculous in a mere gesture, a single phrase. (I’ve been repeatedly whispering “Sorry Babe” to myself, and chuckling, ever since seeing the show.) The audience roared during a scene in which Benedick overhears other characters proclaiming that Beatrice loves him (she doesn’t). Gervais turns hiding behind a plant, ear cocked, into the height of physical comedy. Sabourin, far from being subsumed by Gervais’s delightfully scene-chewing performance, shows how readily and humorously an acid exterior can be neutralized by a hint of honey.\n\nAlso providing a series of excellent laughs is Ron Pederson. He’s a nasty bit of business as Don John. But Pederson also plays Dogberry, a bumbling and self-important constable who has a key role in catching the conspirators who plot to ruin Hero. Dogberry can’t put his glasses on or off without poking himself in the eye or catching his tie in the process — an ongoing bit that provides excellent giggles.\n\nMuch Ado About Nothing is not my favourite of Shakespeare’s play. While not strictly speaking one of the Bard’s “problem plays,” Much Ado About Nothing has a number of challenging elements, particularly for a modern crowd. That both Claudio and Leonato would believe the hastily concocted bundle of lies about Hero is bad enough. But seeing how the conflict resolves (through a reunion with the bad boyfriend, among other insults) is hard to take. While it may reflect the reality for women in Elizabethan England, a modern audience might prefer a sharp stick in the eye for Claudio to the simpering scenario that ends the play.\n\nStill, it’s Shakespeare, and we are inclined to open our arms to his machinations — especially when set against Friday’s (briefly) blue sky, on a (moderately) warm night after a long absence from one of the most special spots in Edmonton’s river valley. It would take more than a couple of naughty varlets and lying knaves to put us off this production. Edmonton has been reunited with Shakespeare in the park — a good reason to sit back, celebrate and enjoy.\n\nRelated 'Big space, big challenge': Freewill Shakespeare Festival makes big return to Hawrelak Park\n\nEdmonton writer breaks new ground with picture book for seniors with dementia\n\nMuch Ado About Nothing, by William Shakespeare Theatre Freewill Shakespeare Festival\n\nDirector Ian Leung\n\nWhere Heritage Amphitheatre, William Hawrelak Park 9330 Groat Road\n\nWhen Until June 28. Followed by Something Rotten! a Shakespearean musical, running from July 1 to 12.\n\nTickets From $30 (children free) at freewillshakespeare.com. Check the website for information on pay-what-you-will performances.","url":"https://edmontonjournal.com/entertainment/review-freewill-shakespeare-much-ado-edmonton","imageUrl":"https://smartcdn.gprod.postmedia.digital/edmontonjournal/wp-content/uploads/2026/06/copy-of-freewill-muchado-bjang-28_303857147.jpg","publishedAt":"2026-06-21T21:17:59.000Z","sourceLabel":"Edmonton Journal Music","tags":["Entertainment","Festivals","Local Arts","Theatre"],"authorName":"Liane Faulder","contentHtml":"\"The

Turns out you can go home again. Audience members have reached that happy conclusion with the return of Freewill Shakespeare Festival to Hawrelak Park’s Heritage Amphitheatre, from which the troupe was rudely thrust more than five years ago.

Thankfully, COVID-19 and the city of Edmonton’s prolonged renovation of the park are behind us and a homecoming at Freewill’s traditional stomping ground feels just right — both fresh and familiar as this year’s festival kicks off its two productions.

Running through June 28, the festival’s first offering — Much Ado About Nothing — was the play that Freewill was set to launch when the pandemic arrived. The second show, Something Rotten!, is a Shakespearean musical to be seen from July 1 to 12 in the amphitheatre.

While the 10-member ensemble for Much Ado About Nothing is smaller than usual for Freewill, the talented cast makes it work, with several actors doing double duty. (I always love it when actors play more than one role; each role feels all the richer for double casting, as if a shadow of the other is present, making me think hard about the all the elements of character.)

As the show opens, a Sicilian governor named Leonato (Troy O’Donnell) is on stage with the good-humoured Prince of Aragon, Don Pedro (John Ullyatt) and his brother, the cranky pants Don John (Ron Pederson) as well as the fresh-faced Count Claudio (Braydon Dowler-Coltman) and suavely handsome Benedick (Jesse Gervais). Also making an early appearance, wine glasses in hand during a courtly dance party, is Leonato’s sweet daughter, Hero (Rochelle Laplante) and his sharp-tongued niece, Beatrice (Vanessa Sabourin).

Two parallel love stories are set in motion as Claudio and Hero find themselves attracted to each other, while Benedick and Beatrice begin a “merry war” of words that disguises the sparks between them as barbs.

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Complications ensue. Even as Claudio and Hero appear to be tripping innocently toward a stylish outdoor wedding (kudos to wardrobe designer Ami Farrow for the stunning gowns), a convoluted, dual-pronged and pointedly evil plan by Don John upsets the proceedings. Claudio (not much of a catch in the end) abandons Hero at the altar after hearing lies that paint her as unfaithful. Her father also believes the falsehoods and suggests Hero would be better off dead than to suffer the shame now tainting her existence. Hero’s aunt Antonia (Nadien Chu) works to clear her niece’s name and thereby bring Claudio back.

Meanwhile, Beatrice tries to persuade Benedick to murder Claudio (now there’s an idea) and the play carries on in a messy fashion until the end, when there’s a cleansing dance. Given the preceding two-and-a-half hours, it’s hard to believe that characters live happily ever after. But at least they’re free of murderous threats and backstabbing by folks who ought to know better.

This isn’t an easy play for the audience to understand (thank goodness for the synopsis in the program), but strong direction by Ian Leung and solid performances by every cast member make it easier to accept the confusing plot points and morally questionable elements of the play.

Gervais and Sabourin are stand-outs in their respective roles. Gervais has many opportunities to flex his comic muscles: his body and voice convey the ridiculous in a mere gesture, a single phrase. (I’ve been repeatedly whispering “Sorry Babe” to myself, and chuckling, ever since seeing the show.) The audience roared during a scene in which Benedick overhears other characters proclaiming that Beatrice loves him (she doesn’t). Gervais turns hiding behind a plant, ear cocked, into the height of physical comedy. Sabourin, far from being subsumed by Gervais’s delightfully scene-chewing performance, shows how readily and humorously an acid exterior can be neutralized by a hint of honey.

Also providing a series of excellent laughs is Ron Pederson. He’s a nasty bit of business as Don John. But Pederson also plays Dogberry, a bumbling and self-important constable who has a key role in catching the conspirators who plot to ruin Hero. Dogberry can’t put his glasses on or off without poking himself in the eye or catching his tie in the process — an ongoing bit that provides excellent giggles.

Much Ado About Nothing is not my favourite of Shakespeare’s play. While not strictly speaking one of the Bard’s “problem plays,” Much Ado About Nothing has a number of challenging elements, particularly for a modern crowd. That both Claudio and Leonato would believe the hastily concocted bundle of lies about Hero is bad enough. But seeing how the conflict resolves (through a reunion with the bad boyfriend, among other insults) is hard to take. While it may reflect the reality for women in Elizabethan England, a modern audience might prefer a sharp stick in the eye for Claudio to the simpering scenario that ends the play.

Still, it’s Shakespeare, and we are inclined to open our arms to his machinations — especially when set against Friday’s (briefly) blue sky, on a (moderately) warm night after a long absence from one of the most special spots in Edmonton’s river valley. It would take more than a couple of naughty varlets and lying knaves to put us off this production. Edmonton has been reunited with Shakespeare in the park — a good reason to sit back, celebrate and enjoy.

Related

Much Ado About Nothing, by William Shakespeare

Theatre Freewill Shakespeare Festival

Director Ian Leung

Where Heritage Amphitheatre, William Hawrelak Park 9330 Groat Road

When Until June 28. Followed by Something Rotten! a Shakespearean musical, running from July 1 to 12.

Tickets From $30 (children free) at freewillshakespeare.com . Check the website for information on pay-what-you-will performances.

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