The Shakespeare Society just wrapped up its first comedy in the past few semesters: “Much Ado About Nothing.” The set and costumes transport the audience to a medieval era, a change from the more modern settings of the last two plays Shakes has performed. “Much Ado” follows two love stories. Claudio, played by Lucy Shaw ’29, instantly falls in love with Hero, played by Regan Williams ’28. At the same time, Beatrice, Hero’s cousin, played by Emma Baker ’26, is a famous pessimist when it comes to romance. Her attitude towards love and marriage is mirrored in her rival Benedick, played by Aoife Moriarty ’29.
These two exchange frequent banter, which the actors charge with just enough romantic tension. Leonato, Hero’s father, played by Esme de Melo Garner ’28, and Don Pedro, Claudio and Benedick’s friend, played by Catie Macauley ’26, conspire with everyone to set up Beatrice and Benedick. A lengthy and hilarious comedic sequence follows as Beatrice and Benedick literally roll and weave their way through this romantic plot, both obviously in love with each other.
Still, not everyone is happy. Certainly not Don John, the illegitimate brother of Don Pedro played by Olivia Cheng ’29. His permanent smolder (executed perfectly) and dark outfit leave no question about his intentions to break up the happy couple of Claudio and Hero. Together with Borachio, played by Candace Beverly ’29, and Conrade, played by Colleen Heaslip ’28, they frame Hero for adultery. Enraged by her disloyalty, Claudio accuses and berates Hero at their wedding altar. Horrified by the accusation, Hero faints. She is only saved by Friar Frances, played by Sophia Jech ’29, who convinces Leonato of Hero’s innocence.
Don John and his friend’s plot comes to light with the help of the night watch and its leader, Dogberry, played by Gillian Sellet ’29. The frankly impossibly incompetent crew saves the day and reunites Claudio and Hero. They are wed alongside Beatrice and Benedick.
In chatting with the cast after the show, they informed me that the director, Margaret Isacson ’26, deliberately left out the scene where Claudio mourns for and apologizes to Hero on her grave. “Claudio isn’t a good person. His misogyny and that of the other men really hurt Hero,” says Catie. “He doesn’t really deserve a redemption. In fact, in our play, Hero takes him back very reluctantly.” Despite the play’s comedic focus, the story at its core is quite misogynistic and more explicitly so than some of Shakespeare’s other works. It’s an issue that the Shakespeare society has to tackle in most of the shows they put on. It’s interesting to see how different directors choose to handle it. “Much Ado” keeps the integrity of the original script, but removes sections to show the director’s disagreement with some textual elements.
Overall, “Much Ado About Nothing” was a wonderful and incredibly successful production. Wellesley is excited to see what show the society puts on next year.
