By Mary Lark
Élise C. Hanson, a local Salt Lake City playwright whose work has garnered awards and praise from local and national organizations, has undertaken an interesting and intriguing enterprise of writing a “sort-of sequel” to William Shakespeare’s popular romance Much Ado About Nothing. It is only “sort of” a sequel because it really isn’t; more an alternative ending. Like Tom Stoppard’s Rosencrantz and Guildenstern Are Dead, Kill Claudio! runs alongside the plot of Much Ado, starting directly after the ill-fated wedding between Claudio and Hero, the primary couple in Shakespeare’s work. Knowing the plot of Much Ado About Nothing is not necessary to enjoy Hanson’s bold and affecting work, which, very much like Stoppard’s, stands on its own. Hansonhas provided a recording of a quick synopsis of Much Ado that runs before the start of her play, but the plot and story of Kill Claudio! is so singular and unique that the play would be just as captivating without the source material.
The play focuses on nine of the key characters from Much Ado, who are all based on the bard’s characterizations but with lovely expansions by Hanson. Here there is more than meets the eye, with characters like Hero (Briana Fisher) growing into a ferocious force of nature and Ursula (Cami Rozanas), finding a mature and practical romance. In one beautifully felt and acted scene, Don Pedro (Christopher Thorne), and his estranged bastard brother Don John (Bobby Cody), have a quiet, intimate conversation in which Don Pedro expresses to Don John that he truly, clearly sees him, and old wounds are healed with renewed understanding. The balance between outrageous humor, bewitching prose, and genuine heart is so powerfully packaged, making this piece truly magical.
The staging is relatively simple, with props and set pieces propped up against the wall or simply remaining onstage. This gives the impression that the play, with its homespun feel, might take place within a singular moment or several days. The costuming, provided by the cast, is fun and expressive, with something of a Steam Punk feel and a variety in colors and styles that is individualized to each character. Music plays a large role in the piece, and the soundscape presented is expressive, fun, and romantic.
The ensemble of actors gathered in Kill Claudio! are well up to the task of representing Hanson’sprodigious writing and directing skills. Andrew Slaughter as Dogberry is riotously funny, playing with tricky verbiage and bursting into song with delightful deftness and alacrity. His comedic prowess is stitch-inducing, lighting up the stage with vivacious energy and animated verve. Hanson seems to celebrate her actors’ other talents, having them sing, dance, and, in a surprise treat, play a beautiful saxophone solo (Thorne). Hansonherself takes the stage as Beatrice, showcasing an ability to take large comedic strokes while still offering vulnerability and warmth. Her co-star Christopher Taylor as Benedick is very well matched with her, not only performing comedy with fervid vitality, but delivering a memorable and worthy mate for Hanson’sBeatrice. The two are electric together, their onstage chemistry potent and palpable, making for an exciting and titillating love connection. Even their eye contact is swoon-worthy. Rounding out the cast is the deft and elegant Jeffrey Owen as Verges, something of a philosopher for the story, whose monologue on morality is a stand-out moment, and Grant Christopherson as Claudio, whose sweet and earnest portrayal is enough to get the audience on his side, urging the question of whether or not Claudio should be forgiven.
In fact, the script is such that the audience will be questioning what might actually befall these characters. Theories abound, and as such, the cast has requested that those who have seen the show not spoil the ending. So the plot will remain unexplained, but this story is one worth telling, the characters wonderfully drawn, and the words sparkling. Kill Claudio! is truly a remarkable work that is sure to stand the test of time.
Kallisti Theatre Company presents Kill Claudio! by Élise C. Hanson.
Utah Arts Alliance Black Box 602 E 500 S Suite E101 Salt Lake City, UT 84102
June 30 – July 9, 2023 Friday, Saturday, and Sunday 7:30 PM, Saturday and Sunday matineest 2:30 PM
Tickets are $17 for general admission and $8 for students
Friday July 7th is “pay what you may” night
Link for tickets found here
Kallisti Theatre Company Facebook page
TV Clip ABC4 News for Kill Claudio!
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