Original music by Alex Loveless, award winning composer, lyricist and lecturer at the London College of Music, and Scott Howland, MA Text and Performance graduate from the Royal Academy of Dramatic Art. Awarded a high distinction for Kelly Wilson’s Master’s dissertation production in July 2017 at RADA. The adaptation retains the original Shakespearean text, while modifying some dramatic situations, language and characters to reflect a contemporary, 21st century digital society.

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Cast:

Joan Nicola Don, Pedro’s half-sister, working in military intelligence . . . . . . . . . . . . . . . . . . Lauren Neal

Pedro Charles Don, army lieutenant, Leonato’s godson . . . . . . . . . . . . . . . . . . . . . . . . . . . James Parker

Benedick Howland, sergeant in Pedro’s platoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aaron Beck

Claudio Parr, corporal in Pedro’s platoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kevin Vong 

Leonato Elliott, Mayor of Launceston . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Callum Westwood 

Ursula Levinson, Leonato’s sister, married to Sean . . . . . . . . . . . . . . . . . . . . . . . . . . . . Phoebe Wheatley

Beatrice Taylor, Leonato’s niece, cousin to Hero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  Kate Dakin

Hero Elliott-Campbell, Leonato's daughter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Laura Eastley

Sean Levinson, soldier in Afghanistan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  Nathaniel Wood

Borachio Moss, infatuated with Joan, gamer and caterer . . . . . . . . . . . . . . . . . . . . . . Antonio Zanchetta

Margaret Jeffery, maid for Leonato’s household . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rose Johnson

                                                                                                                                                    Natalie Gaffney

Artistic Team:

Original Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alex Loveless 

                                                                                                                                                     Scott Howland

Digital Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Caitlin McCarthy

Choreographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Melissa Wimmer

Piano Accompaniment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Tomas Webster

Violin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Caitlin McCarthy

Vocal Coaches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  Caitlin McCarthy

                                                                                                                                                    Melissa Rogers

Lighting Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mark Smith

                                                                                                                                                         Sean Wilson

Projectionist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  Kelly Wilson

Ticket Sales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  Simone Rigby

                                                                                                                                                         Sean Wilson

Ushering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  Simone Rigby

                                                                                                                                                      Isabella Rigby

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History:

Much Ado About Nothing is thought to have been written in 1598, as Shakespeare was approaching the middle of his career. The play is generally considered one of Shakespeare's best comedies because it combines robust hilarity with solemn meditations on shame, honour, the nature of love and forgiveness and the human power to change and to choose. 

 

When viewed through a contemporary lens, this play seems to be inspired by one alternative title: Much Ado About Noting. During the English Renaissance, ‘noting’ (meaning rumour or overhearing) sounded very similar to ‘nothing’, used in the title of the play. It’s through noting that Benedick and Beatrice are tricked into professing their love for each other and by founding his belief on nothing, Claudio is tricked into refusing to marry Hero. Much of what the characters take note of in this play is based on assorted bits of nothing. This word play has inspired the unusual title for this production, Much Ado About Not(h)ing, the use of the parenthesis indicating that the ‘h’ in the word ‘nothing’ can be retained or deleted: noting or nothing.

 

Synopsis:

Joan Don and her half-brother, Pedro Don, have just returned from a six month deployment in Afghanistan. Ancient grudge has broken to new mutiny upon the recent death of their father, from whom Joan has been estranged since childhood. In response to his guilt-ridden father’s last request, Pedro is attempting to build a relationship with his half-sister Joan. Meanwhile, Pedro’s godfather, Mayor of Launceston Leonato Elliott, tries to support his godson through this time of grief and reconciliation by inviting him and Joan, along with Pedro’s band of brothers from his platoon, Claudio and Benedick, to a welcome home celebration at his house with his daughter Hero, niece Beatrice and sister Ursula, who is waiting to hear from her husband, Sean, who has been injured in Afghanistan.

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Director’s Interpretation:

It is intriguing to observe the connections between the turmoil caused by the events of this play and the evolution of social media. Frequent ‘noting’ of social media and technology is the root of some troubles that people experience in their relationships today, and is reflected in the obstacles between the characters in the play. This performance explores what we, as a 21st century society, take most note of: the people and events that occur around us in the ‘mortal world’, or the ‘digital world’ that we access through our computer screens or mobile phones. 

 

With this concept in mind, mobile devices are an integral element of the performance, inviting audience members to choose between viewing the performance presented by the actors onstage or the digital performance that they can access through Facebook on their mobile phones (or a little of both), thus actively immersing the audience in the dilemma this production endeavours to explore. Digital projection, movement and dance are also incorporated into the performance to present visually elements of Shakespeare’s text, as well as music to heighten moments of emotional joy or turmoil by converting selected Shakespearean text into lyrics for original music, written by Alex Loveless and Scott Howland. This production not only produces an intriguing, contemporary performance of a well-loved Shakespeare comedy, but also provides an exciting and innovative way to explore the impact of social media on 21st century society and our relationships with those we love.