I think Much Ado About Nothing is Shakespeare’s best. I know that’s a bold claim, but it’s certainly my favourite. Some of his more ambitious plays, such as Hamlet and Macbeth, may be technically more impressive, but this marvellous comedy remains a crowd-pleaser and truly stands the test of time in its popularity.
Much Ado About Nothing takes place in Messina, Italy. It follows its characters through a series of misunderstandings that lead to conflict, declarations of love, and much hilarious mischief. Though the journey of the young lovers Hero and Claudio guides the narrative, Beatrice and Benedick are the stars of the show.
Beatrice and Benedick are feisty, strong-minded characters who, from the beginning, do not particularly like one another… or at least, that is what they try to convince everyone (and themselves). Both staunchly resist the idea of marriage. In Act 1, Benedick says he will “die a bachelor”. Similarly, Beatrice is insistent that she does not want a husband. So, we know exactly where they’re bound to end up: spoiler, they both get married, and to no one’s surprise, it is to each other. It is the perfect comedic setup. Watching it all play out, even after seeing it countless previous times, is utterly delightful.
Shakespeare’s nuanced construction of female characters is commendable in many of his plays, such as Othello’s Emilia or Lady Macbeth. Beatrice is no exception; she is a loveable, warm character who is equally multi-faceted and critical of her position in the patriarchal Elizabethan world. Her impassioned speech to Benedick in Act 4 Scene 1, in which she ferociously claims that if she were a man, she would “eat [Claudio’s] heart in the marketplace”, is stunningly powerful, and unconventionally emotive for a comedy. I find it particularly special how much variation exists across portrayals of Beatrice; Emma Thompson, for example, is quite demure and soft compared to Catherine Tate, who plays her as a rather bawdy, audacious character. Each woman who embodies her brings something new to the table, which is one of the most exciting things about seeing a new production of the play.
Although the audience is reduced to stitches of laughter at many points, Much Ado About Nothing also has some touching moments. The confession of love between Beatrice and Benedick is tender and vulnerable, coming at the end of a sombre scene in which Hero is humiliated and scorned by Claudio. While some productions may choose to integrate humour at this moment, the original text is sincere and emotionally driven. There’s a tangible humanity to these two characters, and their reluctance to admit their true feelings makes the development of their relationship as moving as it is funny. It feels entirely universal: even 400 years later, there’s a relatability to Beatrice and Benedick that is rarely found in Shakespeare’s other works.
Sadly, both the RSC and National Theatre staged productions of Much Ado in 2022, so we may have to wait a while before a new adaptation hits the theatres. Nevertheless, Kenneth Branagh’s film adaptation is wonderful, and Digital Theatre+ (which can be accessed by logging in with an Edinburgh University email address) offers a range of filmed stage versions, not limited to, but including, the riotously funny 2011 National Theatre production starring David Tennant and Catherine Tate.
It’s forgivable if you’re unfamiliar with Much Ado About Nothing. In my view, it rarely gets enough attention, certainly not in an academic context. However, I could not recommend this play enough. I jump whenever there is an opportunity to watch it- and once you’ve had the delight of seeing it for the first time, I imagine you will too.
Image Credit: “‘Much Ado About Nothing’” by ralph and jenny is licensed under CC BY 2.0.