Among the ranks of the greatest rom-coms of all time, films such as “10 Things I Hate about You,” “You’ve Got Mail,” “She’s All That” and “To all the Boys I’ve Loved Before,” stands one of the most well-known stories, one that inspires tears, laughter and joy throughout, one that has outlived any other rom-com your mom watched in the 90s. One of the greatest romantic comedies of the 16th century, Shakespeare’s Much Ado about Nothing has made for a classic, sweetly witty and clever love story for over 400 years. Very recently UT Martin’s Department of Visual and Theatre Arts adapted this production for its stage, and with that has come a twist that clings to the history of this little rural town: a setting in 1873, Martin, TN.
From fiery mockery, biting comebacks and knife-wielding chickens, to doubted fidelity, a sabotaged marriage and, finally, loving reconciliation, UTM’s Much Ado about Nothing (Much Ado) was an overall success, received joyfully by audiences through Shakespeare’s timeless tale.
The audience walked into the theatre to an elevated stage with stairs on either side. The front side of the platform was covered by a variety of wooden window frames, picture frames and wagon wheels. On the platform were boxes, packages, vintage suitcases and barrels. A wooden gate and fence stood in front of the stage right exit. The backdrop was made by a simple use of lighting, creating a dusty (perhaps smoky) effect as warm light shone overhead through what may have been intended to be beams. Soft country folk songs played as audience members waited for the lights to dim. One could walk in and practically smell the sawdust, feel hot rays of sun sinking into the skin and see passerby in the distance wearing long, ruffled skirts and frock coats.
Aside from the incredibly transportive set, actors brought life and variety to Shakespeare’s characters, a challenge for any skilled thespian. The cast did a considerably fine job of breaking through the barriers the language of Shakespeare presents to the modern audience. Most avoided becoming the stereotype all cannot help but think of when they hear “Shakespeare:” an uncomfortable, static form spitting a number of “thous” and “arts” before either scoffing or fainting (or both). The main cast, Benedick, Beatrice, Hero and Claudio, were much cause for praise throughout the production. Benedick proudly and wittily denying marriage with Beatrice, whose snark and pride were equally matched, paving the way for a perfectly paired duo with great chemistry and comedy. Claudio was adapted to further represent the romantic dreamer Shakespeare wrote, somewhat deemphasizing Claudio’s occupation as a brave, lordly solider. However, prioritizing Claudio’s romantic side did well to bring variety among the main cast, especially in balancing out Benedick’s conventional manliness and strength as well as Hero, who brought a powerful femininity with her poise, depth and resilience.
As for the setting of 1873, it worked pretty well overall. Many of the play’s themes worked well with Victorian America, such as Hero’s threatened disownment and public humiliation at her questioned faithfulness to Claudio. However, the period proved a challenge in maintaining the belief of the show for the audience. Mannerisms of 2024 crept into the show, with characters doing hair flips and catty growls in the mirror, which stole much of the charm and believability of the 19th century setting.
The play was received very well overall, however. The cast did a fine job handling comedy—Shakespearian comedy, at that—and audiences met it with praise.
The next show being put on later this spring will be Bess Wohl’s “Small Mouth Sounds.” Performance dates will be released towards the end of the semester, so students should be on the lookout for flyers that will appear across campus.
Great description!