Lover's Confession, Seen in Rourke & Herrin's Much Ado About Nothing

Promotional material for Josie Rourke's production, 2011

    Act four, scene one of Much Ado About Nothing sees Hero’s perceived betrayal of Claudio exposed in front of nearly the entirety of the main cast. There is a trove of reactions to pore over in this scene, with each of the main cast giving their own opinions and thoughts on the matter that reveals a core aspect of their characters. I will be examining Benedick and Beatrice's interaction afterward, where she requests Benedick challenge Claudio to a duel to the death. The iteration I chose was the 2011 play production that starred David Tennant and Catherine Tate and was directed by Josie Rourke. I also chose to compare it to the 2011 Globe Theater production of the play, directed by Jeremy Herrin.

Adaptation

    Lines do not differ much from the source material in either play. They are about as faithful as can get in reading the original script. There are some slight changes to dialogue that make for very interesting character exploration in either production. Where the differences really begin to show with these productions, however, is in the stage direction and costuming. This, along with line delivery, does wonders in terms of characterization. Subtle breaks in dialogue and reactions from either character add an incredible amount to the text that would not have been gleaned otherwise. The scene itself is one of the most important of the play, as it is the moment Benedick professes his love for Beatrice, and her request for proof. There are many ways to play this scene out, and both Tennant and Tate make these characters out to be very silly. It compliments the text, however, as these characters are already witty and charming. The Globe production leans even further into the comedy of the scene. Whereas the Rourke production turns serious as Beatrice laments that Benedick would not kill Claudio, Herrin's play keeps up the absurd comedy of Beatrice's rant.

Line Reading & Direction: What Does It Do?

    The finest example of what these two actor's take on the character adds to the play would be in Benedick's telling Beatrice that he loves her. In the text, he states "With no sauce that can be devised to it. I/protest I love thee" (4.1.293-294). The text, as with all Shakespeare plays, has no written stage direction, leaving Beatrice's reaction to this up for interpretation. Catherine Tate's performance in this scene lends itself to the comedic nature of the play, with her throwing her hands up in the air and screaming rather giddily. 

    This reaction, and the ensuing antics afterward, mirrors the catharsis felt by the reader as these two characters, who have been pining for each other, finally confess their love. What's also of note in this scene is Tennant's delivery of such a pivotal line. His tone, seemingly brimming with excitement at the prospect of revealing his feelings for Beatrice, reinforces the cocky, back-and-forth banter that they've shared previously. It also simply serves as an incredibly wholesome moment before he is asked to do the unthinkable. There is a slight line change, albeit still important, when she does ask him to kill Claudio. The text reads Benedick respond, "Ha! Not for the wide world" (4.1.304). Tennant -- and presumably Rourke purposefully remove benedicks scoffing at the request. He instead grows solemn, shifting the scene in a more serious direction. It is wonderfully telling of this version of Benedick that he regards this as a terribly serious thing she is asking for. There is more that is changed, still subtly. Benedick goes to embrace Beatrice as they argue over Claudio's fate. Yet, she pushes him away telling him to let her go. This change, so minute, goes the distance in emotional impact. Tate includes it with such sorrow that you cannot help but feel for her. As she pleads for Benedick's action, Tate does something interesting. She grabs onto Tennant's hands and leads him along the stage. This all happens as she laments that she cannot kill Claudio herself and restore Hero's honor. This is a nice touch. It backs Beatrice's want to take up the duties, and the hands, of a man to do what Benedick refuses to at that point in the story.

    

Eve Best(right) and Charles Edwards(left)

    The 2011 Globe production, as stated before, leans absolutely into the more comedic aspects of the script. Beatrice, after hearing that Benedick will not slay Claudio, she says, "O God, that I were a man! I would eat his/heart in the marketplace" (4.1.320-321). Tate's performance of Beatrice has a great amount of sorrow behind it. Eve Best turns the dial all the way up, melding rage with absolute hilarity. Her delivery and emotiveness is over the top in the best way, prompting laughing from the crowd, but also widespread applause. Charles Edwards attempts to interject multiple times during her speech about Claudio and Hero, perfectly representing his callousness in the face of adversity, a trait the reader and watcher has become keenly aware of with Benedick. This attempted interjection, along with Best's slurred delivery of the tirade, only makes the scene even more humorous. There is less emphasis on the aforementioned catharsis that was in the other version. In fact, along with most other aspects of this scene, the emotional payoff of Benedick's admission of love is also more of a punchline than a genuine moment. Best and Edwards seem to play off the interaction as something to get off their chest and be done with. It really does pay off here as well, with raucous laughter being heard with nearly every line delivery in this scene. It really recontextualizes how differently Shakespeare's texts can be read and interpreted.

Costuming

Tennant in Superman gag outfit

    The costuming for this play tends to be all over the place, with characters switching in and out of clothing from separate time periods. Benedick is seen wearing a beat up Superman shirt earlier in the play, serving as a ridiculous gag for him to be wearing such attire at his station. In this scene, He wears a decorated military outfit, typical of high ranking individuals in the service. This outfit choice is perfect for the scene, as he wears a symbol of strength and protection, yet hesitates -- and even denies -- the duties he is being given by the woman he loves. It highlights the contradiction presented in the scene and matches even better with the dialogue between the two. Beatrice laments, "O, that I were a man for his sake! Or/that I had any friend would be a man for my sake" (4.1.331-332). She prods at Benedick, tempting him into listening to her, and challenging not only his love, but his masculinity. All the while, he is adorned in this flashy showing of honor and strength, the very symbol of his pride as a soldier. Beatrice's outfit in this scene is also important to her characterization. In the moment prior to this, all characters gather to the scene where Claudio humiliates Hero in front of her friends and family. The women, there for the ceremony, are all dressed in flowing white gowns with headpieces. Beatrice, however, arrives in a simple blue dress, without any jewelry or accessories. It is important that she wears this because, not only does it pair with her characterization of being less "ladylike" than the rest of the women in the story, but it also mirrors her wanting to be able to fill a man's duties in this scene. It is kept a dress on purpose, as well. Beatrice does not want to become a man, per se, but she wishes she could take up their duties just this once if Benedick will not.

    Costuming for the Globe production is very period accurate, down to the vests and stockings and boots. The signifiers of character lie within the coloring and accessory, rather than the clothing itself. Beatrice wears her hair up in a band for the duration of her argument with Benedick, a signifier to her willingness to avenge Hero. She also wears a skirt and shirt, though the shirt is unbuttoned, leaving only an undershirt. Beatrice's wanting to set out on a quest for revenge, but being restrained by her social status is put on full display with these costuming choices. She wears red with golden accents, symbolizing not only her anger in the red, but her pride in the gold. Conversely, Benedick wears a cool blue vest, buttoned almost to the top. At his waist hangs a red handkerchief. This handkerchief represents his latent frustration, or his unwillingness to do as Beatrice bids. It could also represent his love for Beatrice, battling against his judgement in the name of her love. He does not seek the ire of the woman he loves, but he also feels bound by honor and his own logic -- represented in the blue -- to stay his hand and not fight Claudio. These are also incredibly gendered colors, each setting both characters firmly in their place amongst society. No matter how much Beatrice wishes to take up her own hand against Claudio, she is still restrained. It is up to Benedick, ever misguided, to decide what he must do based on his position not only as a man, but as a soldier.

Conclusion

    If these adaptations have taught me anything about Shakespeare productions, it's that subtlety and artistic direction play a large -- if not just as large -- a role as script does in conveying meaning and authenticity. Josie Rourkes production seems widely acclaimed for its heart and wit, nearly ripping the words straight from the script, but adding so much meaning to make even experienced Shakespeare enjoyers feel refreshed. Tate and Tennant were incredible in this play, both showing their sheer acting prowess while keeping their characterizations true to what people love about the play in the first place. The Globe production offered what I have come to expect from their plays, which was a laugh out loud comedy. Familiar performances and period-accurate costuming made this adaptation a wonderful experience to watch.

Works Cited

Herrin, Jeremy, Director. Much Ado About Nothing. By William Shakespeare. Globe theater. https://commonwealthu.mediasite.com/Mediasite/Play/291e3e2b71bc42a98340af7d0c087f571d

Rourke, Josie, Director. Much Ado About Nothing. By William Shakespeare. West End theatre. https://www.digitaltheatre.com/watch/vod/37632860/much-ado-about-nothing

Shakespeare, William. Much Ado about Nothing. Cambridge University Press, 1600.