Frank Hussey's Performance Blog: Classical Theatre Research Blog 3

Classical Theatre Research – Comparison

Through my research I have discovered many fascinating contextual facts concerning William Shakespeare’s classical stage layout, actor’s performances, and actor’s speeches. In this research blog I will share all my research and understanding of William Shakespeare’s impact, socially, culturally, and politically, on classic and modern theatre. As well as looking at the essential impacts to modern theatre, with his hit play ‘Much Ado About Nothing’.

‘Much Ado About Nothing’ Comparison

‘Much Ado About Nothing’ is one of Shakespeare’s key plays that has, particularly, stood the test of time. Throughout its time many professionals have given their interpretation of the text and have succeeded in upholding it’s comedy value.

The play tells a story of a rich family, Leonato’s family, hosting a gathering for Don Pedro, their Prince, whom has returned from the war. It is in this gathering that personalities clash, marriges are made, and rivalries and friendships are put to the test. The result is an entertaining character driven story.

In this post I will be making comparisons between the original production of ‘Much Ado About Nothing’ and see how well it holds up with a modern interpretation of the same play. Plus I will give my personal opinion and highlight certain scenes and see which is the better version.

‘Much Ado About Nothing’ Comparison
	Original	Modern (Josie Rourke’s)	Modern (Shakespeare Retold)
Setting	In present time, in the case of Shakespeare; 1500s.	1980s	2000s
Locations	Set in Leonato’s household in Messina, Venice.	Josie Rourke’s interpretation set in Gibraltar.	Shakespeare Retold takes us through many cities in the UK, but is mainly set in Essex, London.
Character Statuses	Don Pedro & Don John – the Prince and his Bastard brother. Benedick & Claudio – Companions to Don Pedro. Leonato – Governor of Messina and Loyal Friend to Don Pedro. Beatrice – Leonato’s orphan niece. Hero – Leonato’s daughter. Borachio & Conrade – Don John’s companions. Margaret & Ursula – Hero’s maids and friends.	Don Pedro & Don John – Royal Navy Commanders. Benedick & Claudio – Royal Navy Officers to Don Pedro. Leonato – Landlord to the settings estate. Beatrice – Leonato’s orphan niece. Hero – Leonato’s daughter. Borachio & Conrade – Don John’s colleagues. Margaret & Ursula – Hero’s close friends.	Don Pedro – Professional Television Producer. Don John – News set manager and social outcast. Benedick & Claudio – Co-Anchor-men and close friends. Leonato – Director of the News show. Beatrice – News Lead-Anchor. Hero – Leonato’s daughter and Weather-Girl.
Act II, Scene I	Set at a Masked Ball – This setting reflects the upper class, rich, status of the characters and their well-being. It adds some humour when Beatrice insults Benedick in front of him: “That I was disdainful, and that I had my good wit out of the ‘Hundred Merry Tales’ – well, this was Signor Benedick that said so.” – Beatrice Act II, Scene I. Plus it gives a perspective, within Kenneth Branagh’s version, to show modern audiences what a gathering/party was like back in the Elizabethan era. Plus ‘the Globe’s’ stage spaces around the pillars and behind the main wall, enhanced the environment and showed a consistency with the scenes/parties pacing.	A Fancy-Dress Disco – Setting this scene within the houses main hall to host a fancy-dress party incorporates a sense of realism, down to Earth, and fun. Through the audience’s perspectives it becomes relatable, see these characters intrigues the audience to want to have fun. Not only that, but the hilarious costumes used by the actors, makes it all the more laughable, but not too much to the extent where might miss key plot details. Also Benedick’s use of a mask adds homage to the original.	A Fancy-Dress House Party – Much like Josie Rourke’s interpretation setting this version in a fancy-dress disco added a relatable sense for modern audiences and made sense from their perspectives. Comedy elements, such as huge and ridiculous costumes, were added for, what seemed to be, comic relief. But as the scene progressed it all came together and had a clear reflection of the originals.
Hero’s Fate	Lies - Taking a step away from the comedy, there is a theme of tragedy in Act IV, Scene I, where Hero and Claudio’s wedding takes place and ends suddenly when Claudio believes Hero is a liar and a cheat. The scene climaxes with the friar conducting a plot to which they falsify Hero to be dead. The plan states that Hero died of heart ache from this tragic event, therefore Claudio must marry another within Leonato’s family. This would also result in Claudio seeing the true villain behind making Hero the enemy. Then the whole scene would end with Claudio and Hero becoming true lovers and being married.	False Accusations – Sticking closely to the original, this interpretation has the same scenario and execution. Although the manners within the characters seem somewhat restrained. Claudio does not which to heart Hero physically. Leonato knows he cannot harm his daughter. Plus Benedick hides his concern for Hero until both Claudio and Don Pedro are absent.	Humiliation – In this modernised interpretation, Don John convinces Claudio that Hero has strong feelings for him not Claudio the night before the wedding. Taking place in a real church, Claudio accuses Hero of lying and cheating in front of everyone and Hero runs away from the alter. Convinced Hero is innocent Beatrice asks Benedick to “kill Claudio”. But Benedick refuses and find Claudio drinking his pains away. But Hero is hugely frustrated with Don John and attacks him. This results in Hero receiving a serious head injury that causes Claudio to panic. At first believing she is going to die, Claudio apologises to her sleeping body. But to only find she is awake and no serious damage was made.
Claudio’s Response	Guilty – In the original text it depicts Claudio feeling extremely guilty, once he learns Don John plotted against their marriage. He weeps and trembles in fear as to who he will marry instead. But once revealed to him that Hero is alive and still wishes to be married to Claudio, he apologises to her and Leonato and they marry. Giving a tradition happy ending to Shakespeare’s comedies.	Suicidal – One element used in this interpretation, which I found extremely effective was a funeral scene. Hero is given a fake funeral to really hit Claudio in the teeth. But as the funeral comes to an end we see Claudio wonder in guilt and pain. He constantly drinks from his flask/champagne bottle. He even attempts suicide. Showing a deeper meaning to the character. But once revealed to be alive, much like the original, Claudio apologises and he and Hero marry.	Separation – This interpretation added are modern sense of realism. In truth nobody would take it well when being convicted of cheating at the altar. Nor lead to believing your former lover had died, to only be alive the next day and expect instant marriage. Therefore once Hero awakens in hospital, Claudio feels extremely guilty and want to marry her, as a way of making it up to her. But Hero is still, somewhat, furious with him, therefore dumps him and keeps him as a work colleague and old friend. While this interpretation ends hinting they might get back together again, the ambiguous ending adds relatable and realism to the classic text.
Opinion (Which do I think is the better interpretation?)	Classic – As a Shakespearean comedy goes, this is hands down my favourite. But as an interpretation of the piece, it is somewhat exaggerated and a tad unrealistic. Even though it is a fantasy and was made for Elizabethan England, I personally can’t quite relate to it. However as a classical interpretation, Kenneth Branagh’s motion picture is, visually reflective and meaningful in showing today’s audience what it would have been like in it’s prime. Plus theatrically speaking, this is a great production for ‘the Globe Theatre’. Uses of the stage and interactions with the audience make grand entertainment and pure comedy.	Mix – In truth, this is my favourite interpretation of them all. It’s fast, funny, and in a way genius. It adds a sense of naturalism and realism through the staging and the acting. Plus likability through the characters interactions, actions, and progressions. It uphold references to the original and to a modern audiences response, particularly when it comes to Benedick and Beatrice’s relationship and, especially, Claudio’s suicide attempt. I think it is a grand treat for all modern audiences because it shows them how fun, funny, intriguing, and energising Shakespeare plays can be.	Modern – I think the main element about this interpretation that will appeal to a modern audience is the change in the language. Much like the website No Fear Shakespeare (nfs.sparknotes.com) it shows the Elizabethan text in modern spoken English. Thereby making more sense to a modern audience and being more realistic when it came to plot elements like Hero’s fate. I personally loved this interpretation as I made me see the play from another perspective and widened my view of Shakespeare’s production universe. A grand interpretation that can be seen by all and enjoyed by all. Especially first timers being introduced to Shakespeare.