WRITTEN BY ASSISTANT DIRECTOR KAYCEE SWIERC
FOREWORD
When APT initially announced that we were doing Much Ado About Nothing this season, we received one overwhelming response: “That is my FAVORITE Shakespeare'', and for good reason too. In my humble opinion, as a self-proclaimed expert on the subject, Much Ado About Nothing is one of the best - and most influential - romantic comedies of all time. Look no further than the recent success of the big-screen Much Ado adaptation Anyone But You to see that this story stands the test of time, which is why we decided to bring it to APT audiences this summer.
The pairing of this perfect Shakespeare rom-com with APT’s commitment to language and its excellent company of actors and support teams provided us with the perfect opportunity to hear and experience this play anew.
In case you need a brush up on the plot, or this is the first interaction you are having with the play, here is a little synopsis to get us all on the same page: A close-knit community in Messina, Italy, centered around the house of Leonato, receives a visit from Don Pedro of Aragon and his entourage as they return home from a battle. Old flames are rekindled, in the characters of Benedick and Beatrice, and new ones are born in Hero and Claudio. But of course, because this is a Shakespeare play after all, true love faces many obstacles, some of which take a terrible toll on this family and community. In the end, Shakespeare reminds us groundlings* that love and forgiveness are what save us and bind us as a community.
Now, please join me as I take you through our production of Much Ado About Nothing as we talk about the sense of community, love, and the themes that make this story continue to resonate today.
Groundlings: a term used during Shakespeare's time to describe audience members who stood around the stage on the ground level to watch the show
COMMUNITY
The idea of community, both physical and metaphorical, is at the core of our production of Much Ado About Nothing. Inspired by our director's travels and love for Italy, we have set our play in a 17th-century coastal Mediterranean fishing town. It is beautiful, lush, and runs on the energy of its inhabitants who care for it. Everyone, regardless of class or status, works and takes pride in contributing to their community. Leonato, the leader of this great house, may be seen carrying a bucket of fish. Beatrice, who runs all of the operations within the house, will be out with other folks hanging laundry.
The community is inclusive of all people: locals, visitors, BIPOC, LGBTQ and non-binary folk. Sometimes, when audiences see a diverse company reflected on stage in a classical work, they consider it “revolutionary.” But as director Robert Ramirez said on our first day of rehearsal, “We’ve always been here, so there’s no need to explain our existence & belonging here.”
Does Messina’s love, grit, and dedication to community remind you of anything? Because it reminds me of Spring Green. APT’s idyllic grounds are a magnificent setting for the Italian seaside village of Messina. The rolling lush green 100 acres that APT sits on inspires levity, romance, and celebration, which is what we wanted to be able to see on our stage as much as possible (you will notice that the entire center section of the stage is exposed to allow Spring Green’s beauty to play a part in this production).
Spring Green resembles the world of our show not only in its beauty but also in the neighborly embrace of the folks who travel from all across the world to work at the American Players Theatre. I have never felt so embraced by a town when working on a contract. They are kind. They are warm. And oh my, do they love the theater!
(Here's a photo of the audience from a different show this season - Ring Round the Moon!)
LOVE
Love is most definitely in the air in Messina. Much Ado About Nothing is a cacophony of love stories coming to a head, overwhelming the senses, and moving at a fast pace, which leads to a plot that is both hilarious and heartbreaking. To lean into the romance in our world-building, each of our design elements frames the romantic moments in an idyllic way.
Designed by Sartje Pickett, the music uses coastal sound elements such as birds, water, and the ocean, combined with original music inspired by the Italian Renaissance. This sonic transformation begins the moment we enter the lobby and continues until we board the bus back down the hill after the performance.
The costumes, designed by Daniele Tyler Mathews, feature a romantic, rustic color palette. Embracing the heat and allure of Messina, the design includes expertly constructed bodices, skirts, and corsets, highlighting the beauty and sensuality of the characters.
Dawn Chiang’s lighting design highlights intimate moments and helps set the time of day, which can be challenging for outdoor theater. Even when the show is happening in broad daylight (for matinees, students, and other special performances), the lighting design creates the feeling of being in the moonlight on the amorous dance floor of Leonato's home.
Josafath Reynoso designed a set that looks well-loved rather than run-down, featuring striped turquoise, ancient gates, anchors, and roof tiles. It gives the appearance of a great house that has withstood the test of time, much like the lovers in our play who, regardless of the wear and tear of their relationships, remain steadfast with one another.
The eclectic choreography by Brian Cowing includes dance moves inspired by fish, which, while not the first thing that comes to mind when thinking of romance, creates some of the most alluring sea creature partner dances imaginable that help drive our lovers' story through moments of great celebration and fellowship.
DECEPTION
In our production, Messina is a place known for its welcoming festive spirit and penchant for playful deception. Among the most iconic moments in Shakespeare's repertoire are the gulling* scenes in which the men trick Benedick into believing that Beatrice is in love with him, and the women similarly deceive Beatrice into thinking Benedick loves her.
Gulling: To fool, deceive, mislead, or trick. It is not a bird pun in our coastal setting, although, that would be funny.
These scenes are memorable not only for their witty dialogue and physical comedy but also because they serve as a culmination of the romantic hints scattered throughout the first part of the play. The actors skillfully lay these breadcrumbs, leading to a satisfying payoff when the hijinks finally ensue. The audience, drawn in by the text and staging, eagerly anticipates the moment when Beatrice and Benedick will succumb to love, feeling almost as if they are part of the deception themselves.
While this dramatic device is one of the most fun parts of this play, it also is the most destructive. Our villain, Don John, uses deception to his advantage to tear Claudio and Hero apart. This is just one example of the way Shakespeare will take a thematic device that brings joy to bring an equal amount of destruction.
FOREGIVENESS
In our production, Hero transcends the typical Shakespearean ingenue, embodying both strength and piety while symbolizing hope and forgiveness. When her virginity is questioned, her true moral integrity is revealed. Claudio, her beloved, betrays her, publicly makes a false accusation against her virtue, and even threatens her, yet Hero forgives him and takes him back. As a woman, I find this challenging to accept. If this were to happen to me, I could not so easily forgive those who wronged me in such a heinous way.
So how did we approach this? In our production, we emphasize Hero’s journey toward forgiveness through transitions between scenes, showcasing her remarkable emotional intelligence and willingness to take control of the narrative that has been forced upon her by Don John. By celebrating her strength, we aim to find a path to forgiving Claudio in the end. Hero’s virtues go well beyond mere chastity, emphasizing that forgiveness represents the highest form of generosity and understanding. In a divided society where forgiveness is rare, Hero’s character reminds us of the crucial need for compassion and unity.
CELEBRATION
In our production of Much Ado About Nothing, we ensure that despite exploring deep themes like deception and forgiveness, the ending is firmly rooted in celebration. Throughout the play, while delving into these complex issues, we maintain a focus on a joyful celebration. Our festivities include a song to greet and connect with our community, dances to prepare for and welcome visitors, a celebratory song during the gulling, a dance at the fish festival, a grand white wedding, and a final dance that hints at a happily ever after. Movement, song, dance, drink, and, of course, love drives these vibrant celebrations. It is when joy overflows that the true celebration of life emerges.
We want the audience to leave the theater with their hearts brimming with love, their spirit uplifted by laughter, and a renewed sense of generosity.
We hope you enjoy the show!
"For man is a giddy thing, and this is my conclusion." - William Shakespeare, Much Ado About Nothing
Written by Kaycee Swierc, Assistant Director of Much Ado About Nothing, 2024.
Special thanks to Robert Ramirez.
Photos by Hannah Jo Anderson and Liz Lauren.