REVIEW: Much Ado About Nothing (Faction of Fools)
Capitol Hill’s resident commedia dell’arte troupe, Faction of Fools, are back for the spring to kick off their 2026 season Bard style, with a flirty Italian take on the 1599 comedy Much Ado About Nothing. I’ve somehow never seen this Shakespeare comedy, so I have high hopes for the pantomime parlancers at the Capitol Hill Arts Workshop to acquaintance me well.
Book
In it, we follow a group of soldiers arriving in Messina, Italy. Two of them, Claudio and Benedick, fall in love with two local women by the names of Hero and Beatrice. There are your normal Shakespearean hijinks such as witty banter, not-so-subtle sexual innuendo, and notably strong female characters. But when the devilish Don Juan starts spreading misinformation about Hero, things erupt into a dastardly affair of lies and treachery that makes for a surprisingly deep take on themes of trust and infidelity. The dynamic of the two complementing couples in this feels a little different than other Bard double-dates, in that it’s not very explicit who the “main” couple is. Common knowledge provides the answer as Benedick/Beatrice, but most of the script revolves around the other. This allows for a work of theatre that ebbs and flows in a terrifically consistent rhythm, revealing strong DNA strands of rom-com prehistory. 9/10
Acting
Faction of Fools are typically known for their solid casts. The type of clownery required for commedia is a particular niche, and those who are good at it are good at it. But even this time, it appears they’ve outdone themselves. This ensemble has nothing short of a vice grip on the book’s themes — non-doubtably helped by Renea S. Brown (yes, that one!)’s scholarly interpretation of the text—and the result is quick-witted tomfoolery that feels organic and homegrown. The lacksadaisical, vacay-oriented mannerisms from Lorenzo Miguel (Claudio) and Danny Puente Cackley (Benedick) segue into madcap chases and Italianate slapstick seamlessly. The belly laughs are plenty, especially from scene-stealer Matthew Pauli (Leonato, others) and scene-owner Mary Myers (Beatrice, Don John). Each character is so vividly realized that even someone like me, who typically is hard to please with slapstick, was able to find the foolish joie-de-vivre at the nucleus of the production without an issue. 10/10
Production
I was instantly taken aback with William K. D’Eugenio’s blushing light designs in the rustic hotel lobby the show opens in. These jewel tones fluctuate with radiant personality throughout the show, and even feature some brief shadow play (always welcome in my opinion). The setting is remarkably consistent and self-aware thanks to razor-sharp direction from Natalie Cutcher, which extends to the modern, summery linens that drape the actors and even to the less-modern commedia masks by Tara Cariaso. Minor spoiler alert, but there’s also some hilarious puppetry afoot — and it too has a mask. Obviously, that wins a lot of points in my book. But since everything else works so well too, it doesn’t even need them. 10/10
Viz
The Capitol Hill Arts Workshop is such an interesting space. The black box is tucked away in the back of a small, hot pink building, and the room juts back several rows like a wind tunnel. And you know what? Faction of Fools continually pull off stunning levels of detail and ambience in it. Such is the case upon entry this go around, entering an idyllic, modern Mediterranean resort lit up in fuchsia. The Hotel Bella Figura front desk and all its jangly keys and navy blue signage welcome you. It’s giving The White Lotus (which I’ve never watched, only seen pictures of, so I could be horribly wrong) in an uber-inviting way. I was curious how they would bring this vibe, also expertly depicted in their warm key art, to the stage, and it’s done with aplomb. 10/10
Verdict
The Fools have delivered a hilariously creative and modern take on a classic Bard comedy, with an ensemble at the top of their game and direction that never misses. 39/40
