When the character Claudio cries, “Are our eyes our own?” midway through the Performing Arts Department’s production of “Much Ado About Nothing,” the audience can do little more than sigh. In this Shakespearean comedy, mistaken identity is the rule, not the exception. Lovers are deceived into hate and nonlovers into love.

The play surrounds the love affairs of two couples. Upon returning from war, Count Claudio (Rob Klemisch) and Signor Benedick (Justin Joseph) are introduced largely through a masked ball to Hero (Barrie Golden) and Beatrice (Laura Harrison). While the romantics Claudio and Hero fall in love rather quickly, Benedick and Beatrice are not as fortunate. Given to caustic battles of wit or flirtation, they engage in a classic game of who-can-hate-the-other-more before ultimately succumbing to their love for each other – after both are initially tricked into thinking that the other loves them.

This love story, set in Italy, would be a simple matter were it not for Don John (Andrew Byrd), the illegitimate brother of Don Pedro (Matt Goldman), a prince and fellow soldier. With bitterness and malice, John breaks up Claudio and Hero’s marriage through a deceptive scheme. Enter a dozen other characters, including a comedic duo of police officers, and the comedy (with a customary bit of tragedy) takes off.

Though the play is about deception, its viewers are never deceived about its quality. Director Henry Schvey has given us a charming production of Shakespeare’s play.

Any discussion of the performance must begin with the set. Performed in 1920s costume (well designed by veteran Bonnie Kruger), the production marks one of those rare (on any stage and with whatever talent) moments when updating Shakespeare truly works, or at least does not fail. While post-WWI Italy might not be the most obvious place to set the play, Don John and his cronies make for good mobsters in suits, and the general pace of life reflects an Italy in the years before fascism rises to power.

The acting, however, deserves the most attention. Shakespeare is not the easiest of fare for younger actors, but this cast proves itself to be well trained and more than capable. Joseph and Harrison, playing the most interesting characters, provide the most interesting storylines as well. As the sharp and iconoclastic Beatrice, Harrison chose an excellent role for exhibiting her many talents and ending her five-year career of PAD performances.

It is the freshman Joseph, though, who steals this show. As the wildly gesticulating, eyebrow-raising and tone-changing Benedick, Joseph provides one of the best performances by a freshman in recent memory. While some of the other veteran PAD actors have been better suited for more modern, avant-garde plays, Joseph seems right at home in his Shakespearean world, rattling off his lines with near-perfect comedic timing and poise. Lastly, Rob McLemore is hilarious as the police officer Dogberry. One can only fear the consequences of a “Much Ado” without heavy doses of comic, often slapstick-style relief.

As a hopeful love story, “Much Ado” marks the perfect transition from gloomy winter (and its corresponding darker productions, such as last month’s “Ipi Zombi?”) to fecund spring. As a show with many standout performances, directions and ideas, it is well worth the price of admission.

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