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Ado
NOTHING
About
written by WILLIAM SHAKESPEARE adapted by KENNETH LIN and JACKSON GAYwith additional text by KENNETH LIN • directed by JACKSON GAY
much2016 SEASON
May 25-Jun 19
PREP YOUR STUDENTS FOR THE SHOW: Book your pre- or post-show classroom workshop!
Contact the Artistic Learning Coordinator, Whitney Grace Krause at 510.548.3422 x136 for more info.
TEA
CH
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GU
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MAY
/JU
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2016
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led
by T
rish
Tillm
an
Eric TingArtistic Director
Susie FalkManaging Director
Clive WorsleyDirector of Artistic Learning
Beverly SoteloArtistic Learning Programs Manager
Jacinta SutphinArtistic Learning Coordinator
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1. Cal Shakes Overview Cal Shakes’ Mission, Funders, and Partners .................................................. 3 Artistic Learning Programs at Cal Shakes ..................................................... 4
2. Much Ado About Nothing Overview ................................................................. 5 A Note to Teachers .................................................................................... 6 Plot Summary........................................................................................... 7 Who’s Who: The Actors ............................................................................. 8 Who’s Who: The Characters ....................................................................... 9 Character Map .......................................................................................... 10 Seeing the Play: Before and After ................................................................ 11 Shakespeare’s Language: Take Notice .......................................................... 12
3. Much Ado About Nothing: Behind the Play ..................................................... 13 The Elizabethan Worldview: The Great Chain of Being ................................... 14 Go Girls: A Woman’s Place ........................................................................ 15 William Shakespeare: A Mysterious Life ....................................................... 16
4. Much Ado About: Taking Note ......................................................................... 18 Truth and Lies: Claudio and Hero ................................................................ 19 Who Do You Think I Am? Social Empathy .................................................... 20 You Know What I Mean: Dogberry .............................................................. 21 Something to Talk About: Beatrice and Benedick .......................................... 22
5. Resources .................................................................................................. 23 Much Ado About Nothing on Film ............................................................... 24 Book and Internet ..................................................................................... 25
6. Classroom Activity Guide ............................................................................. 27 Cal Shakes’ Mission, Funders, and Partners .................................................. 28 Social Networking Character Study: “Shakesbook” ........................................ 29 The Shaming of Hero ................................................................................. 30 Beyond the Play: Character Backstory ......................................................... 34 Beatrice and Benedick: From Page to Stage .................................................. 35 Reference Sheet: Brush Up Your Shakespeare .............................................. 37 Cal Shakes Critique: Elementary and Middle School ...................................... 38 Cal Shakes Critique: Middle and High School ............................................... 39
GUIDE CREDITS
Editor: Trish Tilman
Contributors: Jackson Gay, Philippa Kelly, and Clive Worsley
Copy Editor: Whitney Spaner
Layout & Graphics: Daniel Duran
IN THIS GUIDE:
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OUR MISSION
With Shakespeare’s depth of humanity as our touchstone, we build character and community through authentic, inclusive, and joyful theater experiences.
California Shakespeare Theater
701 Heinz Avenue, Berkeley, CA 94710
510.548.3422 • calshakes.org
OUR FUNDERS AND PARTNERS
Artistic Learning programs are also supported by the numerous donors to our annual Gala Make-a-Difference Fund, the Dale Family Fund, Dodge & Cox, the Clarence E. Heller Foundation (for teaching artist professional development), the William and Flora Hewlett Foundation, the Dean & Margaret Lesher Foundation, the Thomas J. Long Foundation, the MCJ Amelior Foundation, and the Ida and William Rosenthal Foundation.
PRESENTING PARTNERS
SEASON SPONSORS
SEASON UNDERWRITERS
PRODUCTION PARTNER
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ARTISTIC LEARNING PROGRAMS AT CAL SHAKES
Cal Shakes offers a variety of theater programs taught by theater professionals throughout the school year and during the summer, that nourish imaginations and create a culture of lifelong learners.
IN-SCHOOL ARTIST RESIDENCIESCal Shakes brings working artists to schools where they teach theater arts through an innovative curriculum that is aligned with classroom teachers’ goals. All residencies consist of eight to 10 hours of instruction over several weeks and help to develop students’ intellectual and social skills.
STUDENT DISCOVERY MATINEES (FIELD TRIPS)Our multipronged Student Matinee program offers a unique opportunity for students to develop a lasting appreciation of theater and Shakespeare, through dynamic presentations and the live performance experience. Matinee tickets include free teacher/student guides, optional pre- and post-show classroom visits by teaching artists, a lively pre-performance engagement at the Bruns Amphitheater, and a Q&A session with actors immediately following the show.
AFTER-SCHOOL CLASSES After-school programs, offered for first grade and up, are tailored to interests like, acting, physical comedy, and improvisation, as well as Shakespeare.
SUMMER SHAKESPEARE CONSERVATORIESCal Shakes hosts two- and four-week camps in Lafayette and Oakland. Students return year after year to study with professional actors and artists to learn theater fundamentals such as acting, improvisation, stage combat, and voice. At the end of the session their new-found skills are showcased in a Shakespeare play with original language. Scholarships are available.
For more information, or to register for any of our programs, please call Beverly Sotelo, Artistic Learning Programs Manager at 510.548.3422 x137, or email [email protected].
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OVERVIEW
Students from 2014 Cal Shakes Summer Conservatory’s production of Much Ado About Nothing
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A NOTE TO TEACHERS ABOUT THIS PRODUCTION
“Imagine the biggest celebrity wedding in America and the people that are not invited [are] standing at the gates, yearning for a glimpse of the happy couple. What do they imagine when they [envision] themselves on the other side of the gate?” —Jackson Gay, director of Much Ado About Nothing
Much Ado About Nothing is a title that invites many interpretations. Is Shakespeare saying, “People make a big deal over little things,” or “Life is easier than people make it,”or “Hey, it’s only a play. Have a good time”? It’s hard to say, but in Shakespeare’s day “nothing” was often pronounced “noting” and in our production we wanted to emphasize the idea of “taking note” of someone. This play is all about perception: how people are described, gossiped about, and understood by their attitudes and actions. Shakespeare illustrates the folly of assuming something about another person based on a misperception—a wrong “noting,” if you will. Beatrice and Benedick constantly mistake each other’s intentions (see Benedick’s most illustrative line “‘against my will, I am sent to call you in to dinner.’ There’s a double meaning in that.”) Misunderstanding is key to the darker side of the play as well, like in the awful consequences that come when Claudio is fooled into believing his fiancée, Hero, is unfaithful.
Director Jackson Gay takes this idea of misperceiving, misunderstanding, or “misnoting” to a broader level and has conceived of the play as entertainment dreamed up by the lower-class characters in the story. As we are talking anew about the disadvantages that continue to oppress people of certain ethnicities or economic background, this production is not asking, “How do the people in power view those who are not?” but instead, “How the people who do not have access to privilege view those who are in power?” When Dogberry and his comrades are set to guard the palace gates at the wedding of Hero and Claudio, they devise their own story of what might be happening inside the grand house, and how it came to be. Then they act it out for themselves (and for our audiences). The result is Shakespeare’s story of Much Ado About Nothing told through the eyes of Dogberry and his men.
The theater, through its great gift of empathy, lets us both literally (by acting a role) and figuratively (by watching) try on other identities and personas, which strengthens our idea of who we are as individuals. It allows the imagination to see what we could be and to, very powerfully, understand someone else’s point of view by inhabiting it.
Enjoy!
The Cal Shakes Artistic Learning Department
“The first and most important lesson… is that there are no rules about how to do Shakespeare, just clues. Everything is negotiable.”
—Antony Sher and Greg Doran on training with the Royal Shakespeare Company in Woza Shakespeare! 1996
MUCH ADO ABOUT MISUNDERSTANDING
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PLOT SUMMARY:MUCH ADO ABOUT NOTHING
BY PHILLIPPA KELLY
Our production, set in Messina, the port capital of Italy, begins with a special framing device. We’ll see the actors take their roles. Dogberry, Constable of the Watch, will be seen presiding over the clean-up from a double wedding. Trays are being cleared and bottles dispatched to the trash. What has been going on? Well, Dogberry will tell us. He leads us into Shakespeare’s Messina in a new way, never staged before.
In the world of Messina to which Dogberry introduces us, we’ll join the familiar characters of Much Ado About Nothing: Leonato, Governor of Messina, his daughter Hero, his niece Beatrice, and his brother Antonio. They are preparing to welcome the army of Prince Don Pedro of Aragon, who has recruited various Italian soldiers—including Claudio and Benedick—to fight with him in a battle to defeat his rebellious brother, Don John. They return, victorious, to celebrate with Leonato and his family.
When Beatrice sees Benedick, they resume a long-standing love/hate relationship full of witty insults. Claudio has a much more straightforward relationship with Hero—he fell in love with her before the battle, and now, aided by Don Pedro, he wants to consolidate and head straight to the altar. At a masked ball, Don Pedro woos Hero on Claudio’s behalf, and Hero and Claudio are engaged. Don Pedro makes a plan with the other members of the party to trick those witty wordsmiths Benedick and Beatrice into admitting their love for each other.
Later, Don Pedro, Claudio, and Leonato gossip loudly about how Beatrice is lovesick over Benedick, knowing that he is hiding within earshot. Struck by the revelation of Beatrice’s love, Benedick swears that he will love her in return. Hero and her maidservant Ursula enact the same scheme with Beatrice and she reacts similarly, swearing to love Benedick.
Meanwhile, Don John, who hates Claudio for the military prowess he displayed against him, decides to sabotage his relationship with Hero. Don John hatches a scheme with his servants Borachio and Conrade, in which Borachio will flirt with Hero’s maidservant Margaret on Hero’s balcony, while Claudio and Don Pedro look on. Just as Don John plans, Claudio and Don Pedro mistake Margaret for Hero.
Enraged by Hero’s supposed infidelity, Claudio publicly denounces her at the altar the next day. In order to protect her and unearth the truth, Hero’s family hides the humiliated bride and tells everyone that she has died of grief. Overwhelmed by the events of what should have been a happy day, Benedick and Beatrice confess their feelings for one another. Now, in new-found love, Beatrice asks Benedick to kill Claudio? Will he agree? Take a guess at his answer…
Meanwhile, Constable Dogberry and his fellow watchmen overhear Borachio talking about how he and Don John have tricked Don Pedro and Claudio, and he clumsily but successfully arrests the culprits for making false accusations against Hero. You’ll see a hilarious scene where Dogberry and the watchmen enter with Borachio as their prisoner. Borachio confesses everything and reveals the error Don Pedro and Claudio have made.
To atone for his treatment of Hero, Claudio agrees to marry Leonato’s niece. At the altar it is revealed that the “niece” is in fact Hero herself, and a happy reunion is achieved. Beatrice and Benedick finally confess their love for each other publicly and agree to marry. A messenger tells the party that Don John (who ran away when his plot was discovered) has been apprehended, but they decide to delay his punishment until tomorrow, as this is meant to be a joyful occasion. The two weddings are celebrated with music and laughter.
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WHO’S WHO: THE ACTORSCAST
Patrick Alparone*Don John, Bathasar,
Watchman, Ensemble
Jim Carpenter*Beatrice, Ensemble
Safiya Fredericks*Hero, Verges, Ensemble
Anthony Fusco*Dogberry, Leonato,
Ensemble
Lance Gardner*Ursula, Don Pedro,
Ensemble
Denmo Ibrahim*Claudio, Ensemble
Rami Margron*Margaret, Borachio,
Friar, Ensemble
Stacy Ross*Benedick, Ensemble
*Denotes member of Actors’ Equity Association.
Below is the cast list in alphabetical order. Note that there are only eight actors to play 14 characters.They will switch roles frequently. Watch for how the actors change costumes and their acting styles to suit a new character.
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WHO’S WHO: THE CHARACTERS
CAST
Leonato: Governor of Messina; a respected nobleman. He is Hero’s father and Beatrice’s uncle.
Hero: Leonato’s daughter. She is in love with Claudio.
Beatrice: Leonato’s niece and cousin and best friend to Hero. She swears that she will never marry.
Don Pedro, Prince of Aragon: longtime friend of Leonato.
Benedick: An aristocrat soldier under Don Pedro.
Claudio: A soldier and nobleman who has won acclaim under Don Pedro. He loves Hero, but acts rashly when he believes she has been unfaithful.
Don John: Don Pedro’s illegitimate brother. He hates Don Pedro and Claudio. He schemes to ruin their happiness by making it seem as though Hero has been unfaithful.
Borachio: Don John’s servant and Margaret’s lover. He helps Don John trick Don Pedro and Claudio into believing that Hero has been unfaithful.
Conrade: Don John’s other servant. He is completely devoted to Don John.
Margaret: One of Hero’s servants. Margaret accidentally helps Don John with his scheme to make Hero seem unfaithful.
Ursula: Another one of Hero’s servants. She helps Hero trick Beatrice into thinking Benedick is in love with her.
Dogberry: Master Constable. He often acts like a fool, but is very earnest and ultimately helps reveal Don John’s evil plot.
Verges: Dogberry’s deputy who helps give out the night’s assignments to the watchmen.
Friar: Counsels Leonato and performs the marriage of Claudio and Hero.
George Seacoal: a watchman under Dogberry’s charge.
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CHARACTER MAP
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SEEING THE PLAY:BEFORE AND AFTER
• When does what someone says change the course of someone else’s life?
• How many lies can you spot that the characters tell each other or themselves?
• What kind of people do you think Dogberry and his men are?
• Look for moments that you recognize in modern life: Are the characters acting like people do today? Why or why not?
BEFORE Viewing the Play AFTER Viewing the Play
“Some Cupid kills with arrows, some with traps.”—Hero, Act 3, Scene 1
Consider the following questions before and after the show.
• What does class have to do with how differently Hero and Margaret are treated for their (fake and real) meetings with their lovers?
• What do you think of Dogberry and his gang?
• Are they funny?
• Are they making fun?
• Do you think Beatrice and Benedick will stay together? What kind of marriage will they have?
• What kind of picture do you think Shakespeare is trying to paint with his story about these mixed-up people? What is he telling us about life?
*See the “Write Your Own Critique” page in the Activity Appendix for more ideas about what to watch out for during the production and how to write about your reactions after the show.
*See the “Write Your Own Critique” page in the Activity Appendix for more questions to consider.
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SHAKESPEARE’S LANGUAGE:TAKE NOTICE
When asked what the number one challenge is with Shakespeare’s works, modern-day audiences will almost always respond: “The language.” It’s true that the language does sound a bit different to our ears, and he uses phrases we no longer use in our everyday speech. But think of this: If Shakespeare were to mysteriously reappear in the present, he would be baffled by some of the phrases we use today. That’s because language is constantly transforming.
Here are some original quotes from Much Ado About Nothing. Can you match them to their modern-day translations?
Friendship is constant all other things Save in the office and affairs of love. Claudio, Act 2, Scene 1
Silence is the perfectest herald of joy. I werebut little happy if I could say how much. Claudio, Act 2, Scene 1
When I do name him, let it be thy partTo praise him more than ever man did merit.My talk to thee must be how Benedick Is sick in love with Beatrice. Hero, Act 3, Scene 1
You are thought here to be the most senseless and fit man for the constable of the watch... Dogberry, Act 3, Scene 3
She speaks poniards, and every word stabs. Benedick, Act 2, Scene 1
A miracle! Here’s our own hands against our hearts. Benedick, Act 5, Scene 4
There is a kind of merry war betwixt Signor Benedick and her. They never meet but there’s a skirmish of wit between them. Leonato, Act 1, Scene 1
Amazing! We wrote down that we love each other even though we didn’t want to admit it out loud.
I consider you to be the most stupid and fit man for the job…
When I talk about him, it is your job to say really good things about him. My job is to talk about how much Benedick is in love with Beatrice.
Once a good friend, always a good friend, except when love is involved
Everything she says is like a dagger that stabs you.
Beatrice and Benedick seem to like fighting; whenever they get together they always try to make the best joke about the other person.
Silence reveals true joy. If I had enough speech to say how happy I was, that in itself would mean that I was only a little glad.
Try This!Do the “translations” here do the Shakespeare quote justice? Can you come up with a better modern English translation and still capture the mood, tone, and meaning of Shakespeare’s words?
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MUCH ADO ABOUT EVERYTHING: BEHIND THE PLAY
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THE ELIZABETHAN WORLDVIEW: THE GREAT CHAIN OF BEING
Other than a “class” of students, there are several dictionary definitions of “class” in its social meaning:
• a social stratum sharing basic economic, political, or cultural characteristics, and having the same social position: Artisans form a distinct class in some societies.
• the system of dividing society; caste.
• social rank, especially high rank.
• the members of a given group in society, regarded as a single entity.
• any division of persons or things according to rank or grade:
Hotels were listed by class, with the most luxurious ones listed first.
England has been famous for the severe division of its people into very strict social distinctions. The “Great Chain of Being” was a concept that ordered all of the world into higher and lower groups. There was absolutely no allowance to move from one class to another, as it was said to be ordained by God.
God: is pure intelligence. Angels: have pure intelligence. Nobles: blessed with higher intelligence.
• King• Queen• Prince• Princess
• Man• Woman• Child
Commoners: capable of intelligence.• Man• Woman• Child
Animals: not capable of intelligence. Plants: not capable of intelligence. Rocks (minerals): not capable of intelligence.
Imagine, if you were born a commoner, you were considered to be somewhat stupid, and therefore incapable of great things, and not even worthy of being treated well. This was not thought of as an opinion; this was considered fact! Even if you were the smartest “commoner” ever to be born, the social system had you pegged as stupid, and even if you proved it somehow, you probably wouldn’t be believed. For example, Dogberry and his men are the first to know that Hero is innocent, and are initially disbelieved and dismissed by Leonato. Their language is comically confused. They are lower class, and yet they have the knowledge that sorts out the entire play.
Today, a great example of how class systems can, and should, be overcome is the recurring fame of Alexander Hamilton. Hamilton was an illegitimate orphan born in the West Indian Islands, who immigrated to America. On the strength of his intelligence and hard work alone, he became one of the most influential leaders of the American Revolution. He shaped the Constitution and our current financial system.
Try This!
• Have you ever heard someone in your family make a negative comment about another person based on their background or ethnic origin?
• Have you ever made a comment or thought something negative about another person based on their background or ethnic origin? Be honest with yourself.
• Write a paragraph explaining where you think negative perceptions of certain groups come from. If you have trouble, ask your family and friends. The answer is not necessarily buried in history; it might be right in front of you at school or in your community.
Reflection: How do you think negative perceptions of people get perpetuated? Do you think you have certain negative perceptions you weren’t aware of before?
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In Shakespeare’s time, the decision to marry was in the hands of a girl’s father. A father chose his daughter’s husband and it was considered dishonorable and disrespectful to communicate her desires in the process. When a woman married, all of her personal property became the property of her husband and she had no say in how it was spent. Women were regarded as chattel (property) that could improve the family fortune or political alliances. Elizabethans thought women needed a male caretaker. (Remember, females could not have careers or make money outside of the house.) However, Shakespeare lived during the Renaissance period, which was a turbulent and exciting time in which many old ideas were being questioned, examined, and re-interpreted. Shakespeare is known for creating female characters that are just as complex, intelligent, and powerful as the males. Beatrice is a prime example.
In Much Ado About Nothing, men expect to take the lead in most areas of social decision-making. Leonato has the power to decide when, who, and how Hero marries, and Claudio has the power to reject her at his will. Beatrice has to demand that Benedick challenge Claudio to a duel since she has never been allowed the training or experience to do so herself. It is men, in other words, who make all of the choices. Beatrice, however, makes her choices in this play, by using her intelligence and wit. She displays the verbal inventiveness that makes the kind of woman she is—unmarried, un-parented—an acceptable reality in the society.
Just like Beatrice, Shakespeare’s Queen Elizabeth defied the expectations of women during her time. She never married because she realized early that marriage meant a loss of power. Even though the general opinion of the time was that women’s minds were weak and that a female head of state was “an offense against nature,” she ruled with great political skill and cunning.
Hero, on the other hand, seems to represent a very conventional woman of wealth at this time. She doesn’t have much to say in the play, especially compared to the other characters. By putting these two opposite kinds of women side-by-side, Shakespeare is reflecting his changing world.
GO GIRLS!O God, that I were a man! I would eat his heart in the marketplace.
—Beatrice, Act 4, Scene 1
There is uproar when it is suspected that Hero has had an affair. However, when it is discovered that Margaret was mistaken for Hero, all is well. No one seems to be upset over Margaret’s behavior. Why?
For Students: What about Margaret?
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WILLIAM SHAKESPEARE:A MYSTERIOUS LIFE
(page 1 of 2)
Are you good men and true?—Dogberry, Act 3, Scene 3
William Shakespeare is considered one of the world’s finest playwrights. Writing in England during the late 1500s during the reigns of Queen Elizabeth I and King James I, he established himself as a major poet, actor, and playwright. He mastered the comic and tragic dramatic forms and introduced over 2,000 new words into the English language. Shakespeare is read by nearly every American student and is perhaps best known for Romeo and Juliet, Hamlet, and A Midsummer Night’s Dream.
He’s of course one of the most highly regarded writers of all time, but the really interesting thing is that we don’t actually know if the man known as William Shakespeare—of Stratford-upon-Avon, son of a glove maker—was really the author of all of the plays written under his name. A common argument is that a lower middle-class man such as Shakespeare could not have had sufficient education or knowledge of court matters to write so insightfully and profoundly of the human condition and of royalty, much less use language so skillfully. Who could have written the plays? Frequently suggested are:
• Queen Elizabeth• The Earl of Oxford• Sir Francis Bacon• A bunch of other playwrights writing under one name.
Even his birthday is not confirmed. (Birth records from this time are rare and unreliable.) Historians are fairly certain that Shakespeare was born in 1564, but it could have been on April 23rd, or maybe the 20th, or the 21st, or even May 3rd. To add to the confusion, there wasn’t actually such a thing as standard spellings back in Shakespeare’s day—people spelled words as they sounded. Common spellings of “Shakespeare” include: “Shakespere,” “Shackspeare,” and “Shakspeare.” Furthermore, only a few samples of handwriting are thought to actually be his—plays were copied out by actors and others in the theater company for rehearsals.
Signature on his Last Will and Testament, “William Shakspere”; one of six different spellings of his name in his own handSource: Mabillard, Amanda. Playing Fast and Loose with Shakespeare’s Name.
Shakespeare Online. 20 July. 2011
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WILLIAM SHAKESPEARE:A MYSTERIOUS LIFE
(page 2 of 2)
There are a few things about Shakespeare, however, that we do know for sure. A man known as William Shakespeare definitely was involved in the theater: His name is listed among the acting company known as the Lord Chamberlain’s Men in London, which was very popular with the people and with Queen Elizabeth. The company also built the famous Globe Theatre in London, where most of Shakespeare’s plays premiered.
Shakespeare also had a son named Hamnet who died young, and is thought to have in-spired the title Hamlet. Shakespeare had two other children: Hamnet’s twin, Judith and another daughter, Susannah.
Unfortunately, the Shakespeare line ended when his granddaughter Elizabeth died in 1670, having no children of her own. Therefore, there are no descendants who kept records.
Shakespeare is buried in the Holy Trinity Church in his birthplace of Stratford-upon-Avon. On his grave there is an inscription cursing anyone who dares to move his body from that final resting place. To this day his bones remain undisturbed.
Look up the clues that people have collected about who Shakespeare was. Do you think there really was one man from Stratford-upon-Avon who wrote all of the plays? Or was the name, Shakespeare, used to cover up the real author(s)? Why would someone want to cover up the real author of these plays? Does any of this matter in the end?
For Students: Try This!
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MUCH ADO ABOUT: TAKING NOTE
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TRUTH AND LIES:CLAUDIO AND HERO
Let me be that I am, and seek not to alter me.—Don John, Act 1, Scene 3
In the play there is a dark turn in the young romantic relationship between Hero and Claudio. As a woman in Elizabethan times (even though the play is set in Italy, it reflects English standards), Hero’s whole status depends on her reputation. She has little other value in society other than bearing children to continue a noble lineage, so it is very important that she be paired with the proper man.
Hero is framed by Don John to make it look like she is romancing another man after she had been pledged to marry Claudio. This kind of behavior would make her entirely unfit to marry a nobleman, and Hero is accused and viciously insulted by Claudio right at the altar. Her own father also disowns her on the spot.
But this is a comedy, and it must end happily. After the shame of her wedding day, Hero’s family announces that she has died of grief, but they actually just hide her away. When Leonato is finally convinced of his daughter’s innocence, he asks Claudio to marry another girl, Hero’s “cousin.” Leonato then puts Hero, her face hidden under a veil, in the bride’s place at the second wedding. This is the sad truth of a ruthlessly masculine society in which a woman must die in order for her virtue to be redeemed. (The same thing happens in Shakespeare’s tragedy Othello, but with no redemption.)
Here’s an example of Claudio’s words to Hero on their first disastrous wedding day, and then Leonato’s:
Claudio: There, Leonato, take her back again. Give not this rotten orange to your friend. She’s but the sign and semblance of her honor… She knows the heat of a luxurious bed… But fare thee well, most foul, most fair!
Leonato: Wherefore! Why, doth not every earthly thing Cry shame upon her? Could she here deny The story that is printed in her blood? Do not live, Hero, do not ope thine eyes, For, did I think thou wouldst not quickly die, Thought I thy spirits were stronger than thy shames… Hence from her! let her die.
An unfortunate but timely comparison are the cases of a few young people (girls and boys) who have gone so far as to commit suicide after having their reputation or sense of self-worth destroyed through cyber-bullying. These modern-day Heros are caught in a similar situation where they know the truth, but no one else believes it, and they too choose to permanently exit the situation.
Have you ever had someone say something bad about you that wasn’t true? How did it feel? Were you able to establish the truth?
Why do words have so much power when used against someone?
Think about gossip magazines and websites. How do the writers choose their headlines to get you to read their story? Do you believe the articles in these publications? Why or why not?
How can you figure out what is rumor and what is truth?
Name three television shows whose storylines revolve around gossip, misinformation, and rumor.
For Students
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WHO DO YOU THINK I AM?: SOCIAL EMPATHY
Many individuals and groups of people in the world experience unequal opportunities and unfair advantages or disadvantages. How people perceive and make judgments on other people who seem different from them in some way has created these unfair divisions and difficulties. The Black Lives Matter movement is an excellent example of people who want to talk frankly about inequity for people of African-American descent—they refuse to “endure the toothache patiently.”
People are perceived a certain way (either positive or negative) because of the color of their skin, the way they talk, or how much money they have. The characters in our production of Much Ado are the ones who do not have opportunity or access: Dogberry and his group of friends are the workers who must serve, rather than attend, the wedding party. They are seen as “less than” the guests at the party.
Try This!
Think privately of a person you see at school, but don’t know very well, who is different from you in some way. It may be in how they dress, what they look like, or how they act. Picture them in your mind and recall how they talk, walk, stand, or sit. What’s your first thought or feeling whenever you see them?
Now make a list:
• Imagine what that person’s inner thoughts are, in a realistic way. Everyone has favorite things, things they wish for, things they are scared of.
• Imagine what they like the most.
• Imagine what they want. This could be an actual thing, like a bicycle, or something like love, or respect.
• Imagine what they are afraid of.
• Imagine who is the most important person in their life.
Reflection: How has your initial feeling about this person changed by thinking about them in this way?
For there was never yet philosopher That could endure the toothache patiently
—Leonato, Act 5, Scene 1
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YOU KNOW WHAT I MEAN:DOGBERRY
Shakespeare uses language like a jazz musician plays with musical notes; Sometimes he follows the rules, but sometimes he makes up new rules. Shakespeare’s characters use words not only to communicate, but to create a certain mood, express their emotions in new ways, or paint a complex picture of a person or situation.
Poor Dogberry! He seems to love words—his speeches are full of complex and certainly interesting phrases and turns of thought—but he doesn’t seem to really understand the words he’s saying. He often substitutes one word for another, which is called a “malapropism.” Malapropisms usually result in jokes.
Sometimes a malapropism is substituting an incorrect word that sounds a lot like the word one really means. For example, when Dogberry asks his sidekick Verges not to compare things to each other he says, “Comparisons are odorous.” He means to say “odious,” which means hateful or disgusting, but instead he says “odorous,” which means smelly. Don’t you just hate when comparisons are lying around in the garbage smelling up the place?
Another example is when the malapropism is substituting a word that means the exact opposite of what is intended. For instance, when Dogberry is accusing the conspirator Borachio he says, “O villain! Thou wilt be condemned into everlasting redemption for this.” He is trying to tell Borachio that he will be punished by God for his villainy, so he means to say something similar to “condemnation,” but instead he uses “redemption,” which means “rescue or recovery.” The mix-up has a comic effect.
Another textual indication of Dogberry’s state of mind is an inability to keep things in order. For example, when listing the many offenses of the lawbreakers, he says, “Moreover they have spoken untruths; secondarily, they are slanders; sixth and lastly, they have belied a lady; thirdly, they have verified unjust things; and, to conclude, they are lying knaves.”
You are thought here to be the most senseless and fit man for the constable of the watch…”
—Dogberry, Act 3, Scene 3
The word “malapropism” comes from a 1775 play called The Rivals by Richard Brinkley Sheridan, in which a character named Mrs. Malaprop—whose name comes from the French phrase mal à propos, meaning not to the purpose—makes the same kind of verbal mistakes as Dogberry. But this tendency, embodied so fully by Dogberry in the 1500s, was known to Renaissance crowds as a “dogberryism.”
For Students: Shakespeare was First
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SOMETHING TO TALK ABOUT: BEATRICE AND BENEDICK
Beatrice and Benedick are masters of the spoken word, unlike Claudio and Hero, who either use exaggeration or do not speak much, and in great contrast to Dogberry, who doesn’t even seem to know how to use words correctly. Much like Kate and Petruchio in The Taming of the Shrew, Beatrice and Benedick are so verbally well-matched that everyone else in the play, as well as the audience, knows they are destined to be together, no matter how much they protest. In the following dialogue, note how one of them picks up on the words (in bold) that the other has used to craft another insult:
BEATRICE: I wonder that you will still be talking, Signor Benedick. Nobody marks you.
BENEDICK: What, my dear Lady Disdain! Are you yet living?
BEATRICE: Is it possible disdain should die while she hath such meet food to feed it as Signor Benedick? Courtesy itself must convert to disdain if you come in her presence.
BENEDICK: Then is courtesy a turncoat. But it is certain I am loved of all ladies, only you excepted. And I would I could find in my heart that I had not a hard heart, for, truly, I love none.
BEATRICE: A dear happiness to women. They would else have been troubled with a pernicious suitor. I thank God and my cold blood I am of your humor for that. I had rather hear my dog bark at a crow than a man swear he loves me.
Shakespeare’s illustration of a perfect couple is unmistakable through the matching wordplay and one-upmanship.
There’s a skirmish of wit between them…—Leonato, Act 1, Scene 1
Have you ever heard people in a verbal fight who are so good with words that you know they are enjoying the fight? Insult fights can be fun for this reason.
Write a six-line argument between Beatrice and Benedick using modern-day insults. Remember to keep it playful and fun. Deep down these characters really like each other.
For Students
See Resources: Books and Internet on page ___ for a link to a Shakespearean insult page.
See Go Girls! on page ___ for further information on women and Renaissance culture.
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CLASSROOM RESOURCES
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MUCH ADO ABOUT NOTHING ON FILM
Much Ado About Nothing (1913)Directed by Phillips SmalleyStarring Pearl White and Chester BarnettA silent short film based on the classic play.
Much Ado About Nothing (1940)Directed by Connie RasinskiAn animated short loosely based on Shakespeare’s plot.
Much Ado About Nothing (1967)Directed by Alan CookeStarring Maggie Smith and Michael Byrne
Much Ado About Nothing (1973)Directed by Nick HavingaStarring Sam Waterston, Kathleen Widdoes, and Barnard HughesA film of the New York stage production directed by Joseph Papp, known for its complete use of the text.
Much Ado About Nothing (1993)Directed by Kenneth BranaghStarring Emma Thompson, Kenneth Branagh, Denzel Washington, Keanu Reeves, and Kate BeckinsaleSet in Renaissance Italy, using Shakespeare’s language.
Much Ado About Nothing (2012)Directed by Joss WhedonStarring Nathan Fillion, Amy Acker, Alexis Denisof, and Clark GreggSet in modern day, using Shakespeare’s original language.
Ask students to look at the opening scenes of Kenneth Branagh’s version set in Italy and the Whedon version set in Los Angeles. What are the differences? Similarities? Do they tell the same story? Which one do you think is more effective and why?
Ask students to come up with suggestions for modern retellings of the story. What styles and features would they include (puppets, animation, action, Western)? What would make it interesting and understandable for a student audience?
Would this story work if it were embedded in another culture? How could another culture inform the characters of Beatrice and Benedick, or Hero’s supposed unfaithfulness?
Activities:
Much Ado About Nothing is a popular play onstage as well as on film. Some of the film versions are named after the play and some are just inspired by Much Ado’s story. Several of these films also update the play to a modern setting. Here are a few of the most well-known:
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BOOKS AND INTERNET(page 1 of 2)
Teaching Resources for Much Ado About Nothing
Royal Shakespeare Company www.rsc.org.uk/education/teacher-resources/
Folger Shakespeare Librarywww.folger.edu
Globe Theater in England www.shakespearesglobe.com/education
The Stratford Festival www.Stratfordfestival.ca/education/teachers.aspx?id=1096
Life in Elizabethan Englandwww.Elizabethan.org/compendiumwww.Teachit.co.uk/armoore/Shakespearewww.Snaithprimary.eril.net/ttss.htm
Activities on Shakespeare’s various plot and character relationshipswww.Collaborativelearning.org/muchadoplotrelationships.pdf (for Much Ado About Nothing, but can be adapted to any Shakespeare play)
The Kennedy Center’s “The Poetics of Hip-Hop”www.artsedge.kennedy-center.org/educators/lessons/grade-9-12/Poetics_of_Hip_Hop.aspx
Shakespearean Insult Worksheet Gallery www.web.mit.edu/dryfoo/Funny-pages/shakespeare-insult-kit.htmlwww.theatrefolk.com/freebies/shakespearean-insults.pdf
“ShakespeaRe-Told”www.BBC.co.uk/drama/shakespeare
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BOOKS AND INTERNET(page 2 of 2)
Books
Davis, James E., ed. Teaching Shakespeare Today: Practical Approaches and Productive Strategies. Urbana, Ill: National Council of Teachers of English, 1993.
Crystal, David, and Crystal, Ben. The Shakespeare Miscellany. The Overlook Press, Peter Mayer Publishers, Inc. Woodstock and New York, 2005.
Crystal, David, and Crystal, Ben. Shakespeare’s Words: A Glossary and Language Companion. Penguin Books, The Penguin Group. London, 2002.
Papp, Joseph and Elizabeth Kirkland. Shakespeare Alive! New York, New York: Bantam Books, 1988.
Epstein, Norrie. The Friendly Shakespeare: A Thoroughly Painless Guide to the Best of the Bard. New York, New York: Penguin Books, 1993
Asimov, Isaac. Asimov’s Guide to Shakespeare. New York, New York: Random House, 1970.
Foster, Cass and Lynn G. Johnson. Shakespeare: To Teach or Not To Teach. Grades three and Up. Scottsdale, AZ: Five Star Publications, 1992.
Garfield, Leon. Shakespeare Stories. Boston: Houghton Mifflin Company, 1998.
Morley, Jacqueline and John James. Shakespeare’s Theatre: The Inside Story. East Sussex, London: Simon and Schuster Young Books, 1994.
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CLASSROOMACTIVITY GUIDEMay/June 2016
Note to Teachers: This guide was created as a supplement for teachers preparing students to see California Shakespeare Theater’s production of Much Ado About Nothing. Worksheets are designed to be used individually or in conjunction with others throughout the guide. While we realize that no aspect of this guide fully outlines a course for meeting a subject area’s standards, discussion questions, and topics are devised to address California State standards in English, performing arts, and history. The activities here can be minimally reproduced for educational, nonprofit use only. All lessons must be appropriately credited.
There are many excellent lesson plans for Much Ado About Nothing on the internet. Please see our “Resources” page for links. This guide concentrates primarily on ideas that help students understand language, plot, and character through activities that get students on their feet and speaking.
If you are interested in a California Shakespeare Theater’s Professional Development Workshop, which provides easy-to-learn tools for teachers to incorporate theater and arts education activities into California standards-based core curriculum, please contact the Artistic Learning Department at 510.548.3422 x136 or [email protected].
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OUR MISSION
With Shakespeare’s depth of humanity as our touchstone, we build character and community through authentic, inclusive, and joyful theater experiences.
California Shakespeare Theater
701 Heinz Avenue, Berkeley, CA 94710
510.548.3422 • www.calshakes.org
OUR FUNDERS AND PARTNERS
Artistic Learning programs are also supported by the numerous donors to our annual Gala Make-a-Difference Fund, the Dale Family Fund, Dodge & Cox, the Clarence E. Heller Foundation (for teaching artist professional development), the William and Flora Hewlett Foundation, the Dean & Margaret Lesher Foundation, the Thomas J. Long Foundation, the MCJ Amelior Foundation, and the Ida and William Rosenthal Foundation.
PRESENTING PARTNERS
SEASON SPONSORS
SEASON UNDERWRITERS
PRODUCTION PARTNER
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SOCIAL NETWORK CHARACTER STUDY
Have your students create a Facebook profile for a character from the play.
Overview: Being able to empathize with fictional characters sheds light on our own personal situations, and recasts the plot of the play in relevant terms.
Grade: 6-12
Goal: To bring the characters of Much Ado About Nothing into a real-world context.
Outcomes: By creating a mock Facebook page, students will be able to use basic facts from the text to imaginatively enter into the thoughts, feelings, and motivations of fictional characters.
Activity: Familiarize students with the profile layout of a social networking page, such as Facebook. (See following examples.)
1. Ask the students to fill in the profile with • vital statistics • likes and dislikes • friends
Note: Students should use information drawn from their knowledge of the play (For example, Dogberry uses words that don’t mean what he thinks they do.) filled out by their imaginations.
2. Profile photos may be drawn or cut out from magazines, or a photo of the student could be used and attached to the page. Remember, many real Facebook profile pages do not have an actual photo of the person who made them—Facebook members sometimes choose a picture of something they feel represents them, e.g., a tree or a poster they like.
3. Have the students share the pages they’ve created in pairs or in a group discussion.
Reflection:• Name one thing you had to imagine about your character that you think is really interesting.• Was it easy to imagine things about the characters beyond the play, like what Hero does in her spare
time? Or do you feel the play did not provide enough information? How so?• How easy was it to decide who your character’s friends are? Would your character ignore a friend
request from other characters in the play? Why or why not?
Extension exercise in writing dialogue:Note: Require the students to fill out the worksheet manually, rather than actually filling out a public profile online. If you can post their mock profile pages onto your school website or blog, that would work as well, but false profiles in a public space should be actively discouraged. Student examples should show a deep understanding of the plot and qualities of the character. Some examples follow.
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SHAKESBOOK MUCH ADO ABOUT NOTHING
Michael Keaton as Dogberry in Kenneth Branagh’s Much Ado About Nothing.
Status Updates
– Dogberry: New episode of Judge Judy tonight! Such a SUSPECTABLE woman! I have so much to learn from her.
º 1 comment: Verges: Didn’t see any knaves today; will try again tomorrow.
– Dogberry: Remember that I am an ass!
Networks: Messina, Italy
Sex: Male
Relationship Status: Single
Religious Views: Honor and chivalry are not dead.
Information
Email: [email protected]
Current town: Messina, Sicily
Personal Info
Interests: Making arrests, organizing the Prince’s Watch, and fighting knavery.
Activities: Withholding the honor of the law, reprimanding the immorally weak, and generally keeping the disquiet Favorite TV Shows: CSI, Judge Judy
Favorite Music: Theme to Teen Titans
Favorite Quote: “If I were as tedious as a king, I could find it in my heart to bestow it all of your worship.”
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THE SHAMING OF HERO
Overview: This activity underlines how all the guests are complicit in shaming Hero by not defending her honor, it will help students to empathize with Hero’s plight.
Grades: 6–12
Goal: To bring the characters of Much Ado into a real-world context.
Outcomes: Students will be able to imaginatively enter into the thoughts, feelings, and motivations of fictional characters by enacting a moment of high drama. The students will identify with a bullied character and understand the complex emotions from all of the people involved in the incident.
Activity*
Part 1:
• Explain that as a group you will create a still image of a wedding scene. Decide what type of wedding it is: Is it set within a particular culture or time?
• Build up the picture in turn, starting with the bride and bridegroom (Claudio and Hero) who place themselves in the center of the image. Add the Friar and the father of the bride (Leonato), then the groomsmen (Benedick, Don John, and Don Pedro) and the bridesmaid (Beatrice). Finally position everyone else as guests and servants around the wedding party.
• When everyone is in position, the student playing Claudio reads out the accusation (see the next page).
• Ask the group to think about what their character would be thinking after Claudio’s made this accusation and to think of a line to say in reaction to it.
• Explain that when you touch them on the shoulder, each person will express what their character is thinking. Walk around the image, touching each of the students on the shoulder until everyone’s reaction has been heard.
Part 2
• Next, ask the student playing Hero to sit on a chair in the center of the scene while the rest of the group forms a circle around her.
• Cut out the insults spoken to Hero (see the next page) so that every student has one to say. (Some of the lines will have to be repeated.)
• Point to each student in turn and ask them to read the insult aloud they’ve been given, repeating it over and over, getting louder and louder until Hero can’t stand it any longer. She should then stand up from her chair and give her response (see text below). As soon as she stands up, all the insults must stop.
After this, reflect together on the activity:
• How did Hero feel when she was wrongly accused of being with another man?
• What would you do if you were Hero in this situation?
• How did the students playing guests and servants feel when they were insulting Hero?
*adapted from the Royal Shakespeare Company education website; see Resources.
Done to death by slanderous tongues—Claudio, Act 5, Scene 3
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TEXT EXTRACTS Act 4 Scene 1
To cut out and use in the “Shaming of Hero” activity.
Claudio’s Accusation
“Myself, my brother, and this grieved countDid see her, hear her, at that hour last night,Talk with a ruffian at her chamber windowWho hath indeed, most like a liberal villain,Confessed the vile encounters they have hadA thousand times in secret.”
Insults to Hero
rotten orangecunning sinher blush is guiltinessapproved wantonpampered animalsavage sensualityimpious puritybeggar’s issuefoul tainted flesh
Hero’s response
“Oh, God defend me! how am I beset!What kind of catechizing call you this?”
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BEYOND THE PLAY: CHARACTER BACKSTORY
Overview: Write the backstory for one of the minor characters in Much Ado About Nothing: Leonato, Borachio, Margaret, Ursula.
A “backstory” is the personal history of a character that is not described in the actual play or story. In other words, it is what happens to the character before the play starts.
Grades: 4-12
Goal: To use contextual clues to create an imaginative experience of a minor character.
Outcomes: Students will study the play for clues to the characters, and fully describe an imagined life prior to the play’s beginning that justifies the way the character acts in the play.
Activity
Part 1:
• Write the names of a few of the characters from Much Ado About Nothing onto Post-it notes and then stick the notes on students’ foreheads, so that the students cannot see the Post-it note on their own heads, but can see the names of everyone else in the class.
• The students then talk amongst themselves and ask each other questions about their character.
• A student may only ask questions that can be answered with a “yes” or “no.” After a few minutes, all the questioning should stop and the students should state who they think their character is and see if they are correct.
Part 2:
Explain to the students that the interior life of the character is something an actor must be able to imagine as they start to understand how to play that character.
The life of a minor character has been a popular literary and theatrical venture, often called the “pre-quel.” It can illuminate the main story even more brightly. For instance, Wicked is a very popular book-turned-Broadway musical that explores the backstory and unseen lives of the witches of Oz before they landed in Oz and met Dorothy.
• Create Word Bank: Create a word bank with your class on the board about a particular character from the book. Use descriptive, concrete sensory details (sight, smell, touch, taste, and sound). Guide students through describing how the character looks, how s/he acts (personality), and what we already know about him/her from the text.
• Write Summary—Prep for writing Backstory: Students choose a character from the reading and write a one-paragraph description using words like those in the word bank.
• Write Backstory: Students write a one-page description of the character’s life before the play takes place.
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BEYOND THE PLAY: CHARACTER BACKSTORY
In this description, include the following:• Describe the setting (when and where the backstory takes place).• Describe in vivid detail who the character was early in life—personality, looks, situation,
who s/he is friends with, what his or her interests are, how s/he looks and talks, etc.• Use action words, descriptive words, dialogue, and images.• Base the story on clues from the main story when possible.• Describe a problem that the character faces and why it is a problem. (Examples from
Romeo and Juliet: “I’m tired and my back hurts, but I’ll help my darling Juliet, although I may get fired by Lady Capulet” or “I really hate it that these families keep fighting in the streets and I’m determined to stop it forever,” etc.).
• Describe specifically why s/he chooses to do those things (for example, personal satisfaction, revenge, habit, being forced to do them by someone else, etc.).
• Describe how the character feels about doing what s/he does in the play.
Part 3:1. Oral Sharing: Divide students into groups of four or five. Have the students in each group
read their descriptions to each other. Pick one to share with the class and add others if there is time.
2. Theatrical Presentation: Each group should pick one of those stories to present to classmates in an artistic way. They can choose how to present it. Possibilities include: a rap, comic strip drawings, tableau, puppet show, etc.
Coaching: Tell the students that this requires them to use their imagination! Think of what the character does in the play and imagine reasons why the character ends up doing what he/she does. Remember, there is no “right” answer to an open-ended exercise, as long as they can justify their choices using the text. This exercise is specifically designed to explore the life of minor characters in the play—characters who are often overlooked, but can yield fascinating discoveries. When actors play a smaller role they must do this same kind of research to be able to make that character believable on stage. Reflection:
• What did you learn about your character that you didn’t know before? • What did you especially like about one of the descriptions you heard today? • Did you see a picture of the character in your head? • How did you describe your character in your writing so that other people could imagine
the same thing you did? • To classmates: Did you see that character the same way the writer did? What was
different, if anything?• Who imagined their character’s day while writing the description? What was it like?• Why did you decide on the specifics that you did for your character? For example, why did
you choose a particular setting for your character’s childhood?• Does the play provide enough clues to spark your imagination? Why or why not?• What did you find in your backstory (or someone’s from your group) that was particularly
interesting? • How hard was it to imagine beyond the story?
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BEATRICE AND BENEDICK: FROM PAGE TO STAGE
Overview: These activities look at verbal interaction and physical movement using the clues in the language to reveal how characters might be interacting.
Grades: 9-12
Goal: To let the language move the body, allowing for new understanding of how the characters feel and react in a personal context.
Outcome: Students will be able to use text to create their interpretation of the physical and verbal relationship between characters.
Activity:
Part 1:
• Organize students into pairs and ask them to assign themselves the roles of Beatrice and Benedick.
• Provide each pair with a copy of the Act 1 Scene 1 text on the following page and ask them to read this together in their pairs.
• Reflect with students on what kind of relationship they think exists between these two characters. º Do they know each other? How can you tell? º What kind of relationship do they have?
• Alert students to the fact that later in the play Benedick declares that every word Beatrice says ‘stabs.’ What does this tell us about how this conversation might be performed?
• Encourage each pair to look closely at their lines and re-read them to each other, picking out one particular word which they think would be particularly hurtful or wounding to the other person. When they reach those words encourage them to take a step forward towards the other person and to use their voice to make sure that chosen word has real impact.
• Explain that a key part of rehearsals was about considering key words in this way and which words needed to be emphasized. Invite students to share some of the words they picked out and explain their reasons why.
Part 2:
• Share with students that staging and movement across the space also affects the way a moment like this is rehearsed.
• Ask students to stand diagonally opposite their partner and re-read the scene, making sure that they are always on a diagonal. They can move as close to each other or as far away as they want, but they must make sure they are always at the right angle if the other person moves.
• Reflect with students on how this simple rule changed their movement in the scene. Were they always close together or further apart? If the diagonal changed, which character changed it most, or was it equal?
• Ask students to consider how the scene might be different if it was played: º In front of Beatrice’s family º With Benedick’s fellow soldiers
• Explain that this dialogue takes place in a very public place, in front of family and friends.
*adapted from the Royal Shakespeare Company education website; see Resources.
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TEXT EXTRACTS ACT 1 SCENE 1
Text for Beatrice and Benedick
BEATRICE: I wonder that you will still be talking, Signor Benedick. Nobody marks you.
BENEDICK: What, my dear Lady Disdain! Are you yet living?
BEATRICE: I had rather hear my dog bark at a crow than a man swear he loves me.
BENEDICK: God keep your Ladyship still in that mind, so some gentleman or other shall ‘scape a predestinate scratched face.
BEATRICE: Scratching could not make it worse an ‘twere such a face as yours were.
BENEDICK: Well, you are a rare parrot-teacher.
BEATRICE: A bird of my tongue is better than a beast of yours.
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REFERENCE SHEET: BRUSH UP YOUR SHAKESPEAREBelow are some unfamiliar words that Shakespeare commonly used
addition—titleaffined—bound by dutyalarum—call to arms with trumpets
anatomize—to analyze in detail
ancient—ensignanon—until laterarrant—absolutearoint—begoneassail—to make amorous siege
attend—to awaitaye—yesbaffle—to hang up (a person) by the heels as a mark of disgrace
baggage—strumpet, prostitute
balk—to disregardbarm—the froth on alebelike—maybebelov’d—belovedblank—a targetbolted—refinedbrach—bitch houndbrake—bushesbrave—fine, handsomebum—backside, buttockscaitiff—a wretched humble person
catch—songcharacter—handwritingCousin, ’coz—relative, good friend
chuck—term of endearment, chick
clout—a piece of white cloth
cog—to deceivecoil—troublecousin—any close relative
descant—improvisediscourses—speaksdispatch—to hurrye’en—eveningenow—enoughfare-thee-well—goodbyefie—a cursefustian—wretchedgot—begotgrammarcy—thank youhalter—noose honest—chaste, pureheavy—sorrowfulhousewife—hussy, prostitute
impeach—dishonorlist—listenmayhap—maybemess—meal, foodmew—confineminister—servantmoiety—portionmorrow—daynay—none’er—neveroffice—service or favoroft—oftenpassing—surprisingly, exceedingly
perchance—maybeperforce—must
politician—schemerpost—messengerpower—army prithee—pleasequest—a juryrecreant—cowardresolve—to answer; reply to
but soft—be quietsoundly—plainlystale—harlotsubscription—loyalty, allegiance
tax—to criticize; to accuse
troth—beliefteem—to give birththee—you (informal)thou—you (informal)thy—your (informal)tucket—trumpet flourishverge—edge, circumference
verily—trulyvillain—common person, not noble
want—lack of, don’t havewell-a-day—alaswherefore—whyyea—yeszounds—by his (Christ’s) wounds
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YOU’RE THE CRITIC: CAL SHAKES PLAY CRITIQUE(Elementary and Middle School)
NAME: __________________________________
1. Circle the number of stars that best matches how you’d rate this performance. (One star is the lowest rating and five stars is the best rating.) Then write a paragraph on the back of the paper that specifically describes why you gave it that rating. Do not simply say “I didn’t like it,” but say why. For example, “I didn’t like the fact that the director changed the setting to New York” or “I loved the way the actors made me believe that they were really going to kill each other.”
2. Outline the main actions that happened in the plot. What were the big events in the story?
a.
b.
c.
d.
e.
f.
3. What is the central idea or theme of the play?
4. Describe what the actors did to help you understand the Shakespearean language.
5. What did you particularly like or dislike about the staging (set design, lights, costumes, music, etc.)?
6. Shakespeare writes about feelings that we all experience. In Much Ado About Nothing, we see people deal with feelings like love, jealousy, anger, frustration, and others. Pick one of these emotions that you’ve experienced strongly and write what happened in your life to make you feel that way and what happened because of it.
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YOU’RE THE CRITIC: CAL SHAKES PLAY CRITIQUE(Middle and High School)
Give this production a rating of one to five stars. (One star is the lowest rating and five stars is the highest.) On a separate sheet of paper, write a paragraph review of the play; describe why you gave it that rating. Give specific examples to support your reasons. On the same sheet of paper, reflect on the following questions:
Star rating: ___ stars
1. Think of each character and how they behave in the play. Are these characters like anyone you know in real life? For example, is there someone who is smart and disdainful, like Benedick or Beatrice? Is there someone who is very emotional, like Claudio?
2. Which character is most like you? Which one is least like you? Why?
3. Why do you think the characters behave as they do? Pick one character and explain their motivations. For example, Claudio goes from loving Hero to shaming her in a very short period of time. Can you imagine a reason why someone would do that? Do you agree with his behavior?
4. Why are we still staging this play 400 years after Shakespeare’s death? Why do you think the director chose this play?
5. Which character did you sympathize with most? Why?
6. Think about and describe:
i. The vocal and physical actions of the actors (characterization)
ii. The set
iii. The costumes
7. What do you think are some of the themes of the play?
8. Did the elements of characterizations, set, and/or costumes reinforce any of these themes?
9. Shakespeare writes about things that we all experience: love, jealousy, death, anger, grief, fear, passion, confusion, etc. Write a paragraph about one big emotion in the play that you’ve also experienced in your life.
10. Now, imagine you are the director of Much Ado, and use a new sheet of paper to create your new production. º Cast the characters of Beatrice and Benedick with famous actors. Why would you choose these two people? º Many directors set Shakespeare plays in time periods other than the Renaissance. What other setting could you place the play in that would make sense? Why? º What about costumes? Imagine how the characters in your new production would be dressed and how that would illustrate the kinds of characters they are and what setting you have put the play in.
