Fears that inclement weather might put a damper on the opening night of Shakespeare's "Much Ado About Nothing" in Oregon Shakespeare Festival's outdoor theatre were allayed when, despite lowering clouds, not a drop of rain fell.

Instead we were transported to sunny Sicily in Todd Rosenthal's wondrous set representing Leonato's villa in Messina, the capital, at the end of World War II, an era determined by Kate Buckley, the director. It is remarkable how he transformed the austere Elizabethan structure, softening it with colored blinds and lanterns, and provided a pool up front center stage. Add the lustrous lighting by Robert Peterson and the scene is exquisite, picturesque, and Mediterranean.

Here, in these restful surroundings, Leonato (Bill Geisslinger) observes that "there is a kind of merry war" between his niece Beatrice (Robynn Rodriguez) and Benedick (David Kelly), a young lord of Padua. They cannot get within inches of one another without ripping off ripostes.

Then there is Leonato's own daughter Hero (Sarah Rutan) who is enamored of Claudio (Juan Rivera LeBron), a young lord from Florence. He is impressionable, impetuous and has much to learn about love. Both he and Benedick are members of the retinue of Don Pedro (Peter Macon) Prince of Aragon, a patron to young noblemen. It is not all sweetness and light; the troublemaker is Don John (Christopher Michael Rivera), the illegitimate and intensely jealous half-brother of Don Pedro.

There is some very amusing eavesdropping in the play. Hero and her lady-in-waiting Ursula (Arsene DeLay) speak of Benedick's love for Beatrice, who listens in while gorging on green grapes. Benedick, for his part, hides beside the pool and learns how much in love he is with Beatrice. And he ends up in hot water — in the pool no less — from which he emerges dripping and bedraggled, first with some wonderful hand movements and then a water spout, as if he were a whale.

The costumes and uniforms, designed by Nan Cibula-Jenkins, effectively capture the era. The music is buoyant and bright — Italian folk with jazz swing and even a hint of unexpected barbershop. The composer and sound designer is Sarah Pickett, while Mara Filler acts as music coordinator/singing coach. To Mark Bedard, as Balthasar, waiting man and musician, is entrusted Shakespeare's captivating song:

Sigh no more, ladies, sigh no more,

Men were deceivers ever"¦

And on those occasions when a little bit of dancing seemed called for, Jim Giancarlo provided the choreography.

All in all, the audience was responsive in its reaction, seeing the actors off with warm applause and prolonged laughter. Which should please director Kate Buckley, who has said, "Part of our job is to leave them (the audience) fulfilled and richer — intellectually or spiritually, or leaving with a bellyache from laughing."

Two stalwart OSF actors provide other comedy — Tony DeBruno as Dogberry, Constable of the Watch, and Michael J. Hume as Verges, the Petty Constable and second-in-command. When "Much Ado About Nothing" is perilously close to turning into tragedy, it is Dogberry who puts it back on track.

David Kelly and Robynn Rodriguez are past masters of give-and-take, but I thought their initial sallies were a shade too declamatory. Juan Rivera LeBron impresses with his earnestness. At play's end he handles the cry of sweet surprise "Another Hero!" masterfully.

The play runs through Oct. 11.