Much Ado in the Raj 

John Barton's 1976 production of Much Ado About Nothing was set in nineteenth century India under the British Raj, the period of British rule from 1858 until 1947. Michael Billington thought the setting was a triumph: 'an ideal background for the play about the practical jokes of a bored officer class and about the liberation of long-suppressed emotion', Guardian, 9 April 1976.

John Napier's period costumes are highlighted in this photograph showing the reconciliation at the end of the play play's which features Beatrice (Judi Dench), Hero (Cherie Lunghi), Leonato (Ivan Beavis), Claudio (Richard Durden) and Benedick (Donald Sinden). The production opened at the Royal Shakespeare Theatre in Stratford upon Avon on 5 April 1976, toured to Newcastle upon Tyne and transferred to the Aldwych Theatre, London, in 1977.

John Napier's 1976 set

This is a photograph of John Napier's set for John Barton's 1976 Much Ado About Nothing at the Royal Shakespeare Theatre in Stratford-upon-Avon. The multi-purpose set was also used for the production of Romeo and Juliet: 'the timbered balconies of John Napier's permanent Stratford setting, used last week for the declaration of Juliet's love, now become places to hang awnings and sun-shades out in the midday sun.' Sheridan Morley, Punch, 21 April 1976.

The double tier of timber balconies was suggestive of a garrison town, whilst the cheesecloth curtains and sun-blinds emphasised the sultry heat of India. The sound of cricket being played offstage complemented the British Raj setting.

Beatrice's costume design

Here we see John Napier's costume design for the wedding outfit worn by Judi Dench as Beatrice. The dress was made from cream Swiss lawn with a lace stand up collar, a lace insertion bodice, skirt and sleeves. Lawn is a crisp and silky looking fabric, originally made of linen, and derives its name from Laon in France where vast quantities of the material were manufactured.

For each production, every item of costume is labelled with the name of the production, character and actor's name. The Costume Supervisor compiles a list of every item of costume worn by an actor for each scene. Explore our Behind the Scenes section for the spotlight on costume.

Wedding costumes

'This looks not like a nuptial' Benedick, Act 4 Scene 1 

This photograph shows Beatrice (Judi Dench, right) shielding Hero (Cherie Lunghi, lying down) from an angry Leonato (Ian Beavis, left), after she has been rejected by Claudio in the church. John Napier's designs reflect the nineteenth century imperial Indian setting, the light fabrics and tones are suited to the warm climate.

We can clearly see the lace sleeves on the lawn dress worn by Beatrice which are shown in John Napier's design in the previous image. Hero's wedding costume consists of a white silk wedding dress, with lace inserts, tucks, pleated frill at the hem and loose panels at the waist.

Claudio's costume design

Contrasting with the feminine flowing costumes for the women, John Napier's designs for Claudio, Benedick and Don Pedro were firmly rooted in the officer class of the British Raj.

Here we see Claudio in full regimental uniform which reflects the opening of the play when Don Pedro's party return from the recent wars. The spurs and military sword tell us that this is the costume of a cavalry officer. The design also reinforces the fact that Claudio belongs to a privileged and socially superior class than, for example, the Watch.

Prop table setting

Here we see a detailed diagram by the stage manager of the objects on a prop table on the prompt side [P.S.] or stage left. Prop tables are set up to the side of the stage and contain objects that need to be carried on stage. The abbreviation 'U/S → D/S' means that the items are to be placed from upstage to downstage.

The props include a large round silver tray set with seven punch cups, a conductor's baton, a bamboo swagger stick to be carried on by John Woodvine (Dogberry), the letter brought by the messenger to Ivan Beavis (Leonato) at the beginning of the play and the poem, threaded through a guitar, which Donald Sinden (Benedick) struggles to compose in Act 5 Scene 2. The actor responsible for carrying on the prop is usually named.

Prompt book

In this photograph of the prompt book from the 1976 production of Much Ado About Nothing we can see the cues on the left and the text on the opposing page for part of Act 2 Scene 3, where Benedick is deceived by Don Pedro, Claudio and Leonato into believing that Beatrice is pining for his love.

The stage manager has noted the movement of the actors on stage as each line is spoken, known as blocking, so we know that Benedick (Donald Sinden) at this point is eavesdropping 'on his table'. Cue 5 tells us that Don Pedro (Robin Ellis) goes over to a cricket bag, picks it up and moves down centre left (DCL). In the next cue he signals to Claudio (Richard Durden) and Leonato (Ivan Beavis) to come over and so the 'gulling' (deception) of Benedick continues. The cuts to the text are also clearly marked by the black strikeouts.

Benedick eavesdrops

Every production of Much Ado About Nothing needs to solve the problem of how to stage the key 'gulling' or 'deception' scenes of Benedick (Act 2 Scene 2) and Beatrice (Act 3 Scene 1). In each case, the actor playing Benedick or Beatrice must be 'concealed' from the gossiping actors on stage but partially visible to the audience so that it is obvious that they are eavesdropping.

In this photograph from Act 2 Scene 3 of John Barton's 1976 production of Much Ado About Nothing, we see Benedick (Donald Sinden) rather unsuccessfully camouflaged, behind a fronded plant at the side of the stage. During the conversation, Benedick has to adjust his position to hear the speakers, without being seen, although in reality everyone (onstage and off) knows where he is, which releases the comic potential of the scene.

Sicilian setting

A holiday in Sicily provided the inspiration for the setting of Gregory Doran's 2002 production of Much Ado About Nothing. In this photograph of the Act 1 set, the combination of Stephen Brimson Lewis's design and Tim Mitchell's lighting evokes the warm glow of Sicily.

We see that Leonato's house is a large imposing Sicilian residence with terracotta walls and a grand staircase. The vintage motorcycle, used by the despatch-rider to deliver news to Leonato at the beginning of the play, reflects the 1930s period setting.

The production opened in May 2002 at the Royal Shakespeare Theatre in Stratford upon Avon, transferred to the Theatre Royal, Haymarket, in July 2002 and toured to Newcastle upon Tyne in September 2002.

Props and furniture list

This image is from the props and furniture list for the 2002 production of Much Ado About Nothing. The stage manager creates a props list to ensure that all the relevant moveable objects for each scene and character are available when required.

Here the list is divided into four columns: 'Act/pg' = when in the text the prop is needed, 'Prop' = what the prop is 'Character' = who in the play requires the prop, 'Ent.' = where the prop is located e.g. SL is Stage Left. Under the heading 'Leonato's', we can see that a motorcycle, helmet and letter will be needed by a messenger entering from stage left in Act 1 Scene 1. At the start of the play a messenger, in this case a motorcycle despatch rider, brings news of the return of Don Pedro's party from the war and their imminent arrival at Leonato's house.

Don Pedro's costume

“Your grace is too costly to wear every day” Beatrice, Act 2 Scene 1 

Don Pedro and his companions, Claudio and Benedick, are newly returned from military action when Much Ado About Nothing begins. The setting for Gregory Doran's 2002 production of Much Ado About Nothing was Sicily in 1936 and Stephen Brimson Lewis' costume designs included uniforms suggestive of Italian troops returning from the Abyssinian Campaign, a war which took place in what is now Ethiopia from 1935 to 1936.

In this photograph of Don Pedro's party costume, the uniform is embellished with a classical helmet and half-mask. In the next image, we see how this concept is translated into reality.

Party time in Messina

'Speak low, if you speak love.' Don Pedro, Act 2 Scene 1

In this photograph of the 2002 production of Much Ado About Nothing we see Hero (Kirsten Parker) and the disguised Don Pedro (Clive Wood) dancing together during Act 2 Scene 1. Don Pedro courts Hero on Claudio's behalf although this is deliberately misinterpreted by the scheming Don John who arouses Claudio's jealousy. Here we see how Stephen Brimson Lewis' costume design has been transformed from the page to the stage. One difference from the costume design sketch is that Don Pedro sports a cloak with fringe rather than a sash but the mask with an exaggerated false moustache has been retained and is clearly visible.

Beatrice's wedding costume

Stephen Brimson Lewis designed dazzling 1930s outfits for Harriet Walter's Beatrice in the 2002 production of Much Ado About Nothing. The costumes worn by Harriet Walter in the production reflected her feisty portrayal of Beatrice reminiscent of the Hollywood star Katherine Hepburn in films of the 1930s.

This design sketch for Beatrice's church costume shows a more restrained elegance fitting of the formal occasion of a wedding taking place in the traditional Sicily of 1936. The director, Gregory Doran, deliberately chose Sicily at this time because he felt that it resonated with many of the play's issues, including the place of women in a male-dominated society, the code of honour, vendetta and the role of the church and the law.

A wedding interrupted 

A statue of the Virgin Mary was carried aloft at the head of the wedding procession in Act 4 Scene 1 of the 2002 production of Much Ado About Nothing which emphasised the traditional Catholic setting of 1930s Sicily. Here we see Margaret (Sarah Ball), Hero (Kirsten Parker) and Beatrice (Harriet Walter) wearing their formal white wedding costumes, which suggests purity. Hero's veil has been removed after she has been accused of unfaithfulness and rejected by Claudio. If we compare this production photograph with the previous image of Beatrice's costume design it is clear that her hat has been replaced by a veil, which has a more religious tone.

Benedick is deceived  

Many reviewers noted that both the eavesdropping scenes in Gregory Doran's 2002 production of Much Ado About Nothing were played to great comic effect. Stephen Brimson Lewis' set included green-clad walls and garden arbours, perfect for concealment. In this photograph we see the 'gulling' or deception of Benedick (Nicholas Le Prevost) by Claudio (John Hopkins), Leonato (Gary Waldhorn) and Don Pedro (Clive Wood) in Act 2 Scene 3. 

Here Nicholas Le Prevost's Benedick can be seen hiding behind the greenery but he was also obliged to scurry about on his hand and knees to hear the conversation. Nicholas Le Prevost made his Stratford-upon-Avon debut playing Benedick in this production.

Beatrice is doused 

“Some Cupid kills with arrows, some with traps.” Hero, Act 3 Scene 1

Stephen Brimson Lewis' set for the 2002 production of Much Ado About Nothing was exploited to great effect in Beatrice's eavesdropping scene in Act 3 Scene 1. Beatrice (Harriet Walter) has been concealed behind a green hedge, echoing of Benedick's deception scene, but is then 'accidentally' hosed down by her friends.

In this photograph, Beatrice has emerged soaking from the hedge and declares her love for Benedick. The physical shock of the drenching matches the psychological turmoil that Beatrice is experiencing as she comes to terms with her love.

Viva Cuba: the model box of the set 

Marianne Elliott's Cuban set production of Much Ado About Nothing was performed as part of the RSC's Complete Works Festival (2006-2007) and opened at the Swan Theatre, Stratford-upon-Avon, in May 2006, before transferring to Newcastle Upon Tyne and the Novello Theatre, London.

The production was set specifically in 1953 before the Cuban revolution which brought Fidel Castro to power. In this photograph of the model box, the Swan Theatre has been transformed by the designer Lez Brotherston into a Cuban nightclub complete with suspended illuminations and neon signs. In addition, the crumbling brickwork and corroded metalwork of Leonato's mansion suggests decayed splendour.

Marianne Elliott, the Director, felt that the pre-Castro Cuba setting had suitable resonance for the play with its Catholicism, imperialism and male code of honour.

Directing Much Ado 

In this photo taken during the rehearsal for the 2006 production of Much Ado About Nothing,the director, Marianne Elliott, discusses a scene with Tamsin Greig who played Beatrice. Both women were making their debuts with the RSC.

A key theme for Marianne Elliott was how characters in the play learn about life through love and she noted that camouflaged under Beatrice's witty exterior is a big heart. Michael Billington thought that Greig's Beatrice conveyed 'the caustic wit and pencil-skirted style of a wise-cracking Hollywood dame like Eve Arden' Guardian, 19 May 2006. Tamsin Greig won the Best Actress Laurence Olivier Award in 2007 for her portrayal of Beatrice in Elliott's production of Much Ado About Nothing. 

Marianne Elliott talks more about her production here:
http://www.theatrevoice.com/audio/shakespeare-much-ado-about-nothing-director-marianne-elliot

Men behaving badly

In the 2006 production of Much Ado About Nothing, the director, Marianne Elliott, was interested in the idea of soldiers enjoying rest and recuperation in a lively exotic location. Lez Brotherston's costume designs for the party scene reflected the pulsating, sexy, sweaty atmosphere of a cigar smoke-filled club.

The soldier in this exuberant costume design is ready to party Cuban-style as he sports a feathery beaked mask and boa, a long fluffy scarf usually worn by women. A bottle of alcohol, probably rum, can be seen poking out of his army fatigue trousers. His military identity tag is also visible on his chest. The Latin American setting, as realised by Lez Brotherston's design, highlighted the play's hot blood and macho honour code.

Balthasar in the club 

“Men were deceivers ever.” Balthasar, Act 2 Scene 3

Marianne Elliott's Cuban setting of Much Ado About Nothing in 2006 throbbed to the beat of music and Olly Fox's score included rumbas, sambas and congas. The character of Balthasar was transformed from a male attendant of Don Pedro to a female club singer, as we can see in this costume design sketch by Lez Brotherston. 

In this production, Balthasar (Yvette Duncan-Rochester) performed “Sigh no more, ladies, sigh no more” as a torch song (a sentimental love song, usually about lost or unreturned love), warning women about the fickleness of male love. The different way men and women experience love is a key theme in the play.

Virgin Mary masks 

“Done to death by slanderous tongues.” Claudio, Act 5 Scene 3

The second half of Marianne Elliott's 2006 production of Much Ado About Nothing, after Hero has been shamed and rejected in the church, was much darker in mood. Reputation is everything to the characters in the play which is why they react so violently when this is compromised. By locating the play in pre-revolutionary Catholic Cuba, the director created connections with Shakespeare's Messina and its male-dominated society, where women are either saints or sinners. 

Here we see the penitent Claudio confronted by a group of black-clad female mourners wearing Virgin Mary masks. In keeping with the religious tone, the stone bench has been transformed into a shrine for the 'dead' Hero. The mask motif ran through this production, hiding not just identities but also true feelings.

A distinctive Dogberry 

“O that I had been writ down an ass!” Dogberry, Act 4 Scene 2

Unlike the witty banter between Beatrice and Benedick, the broader comedy of Dogberry and the Watch is often problematic for modern productions of Much Ado About Nothing. In her 2006 production, the director Marianne Elliott wanted her Dogberry to have a very distinctive look which reflected his comical self-obsession and ineffectualness. Dogberry as played by Bette Bourne wore masculine attire and feminine make-up. 

In this sketch of Lez Brotherston's costume design, we can see the pantomime-like policeman's helmet contrasting with the macho ammunition bandolier (belt), handcuffs and combat boots. This Dogberry presented a quirky facade which might well mask his real inclinations in such a macho society.

Stage Manager's storyboard 

In this extract from the storyboard from the 2006 production of Much Ado About Nothing, we can see how scenes 1-3 of Act 2 are broken down visually for stage management. If we examine Act 2 scene 3, entitled 'Benedick's Gulling Scene', we learn that the scene takes place 7pm on a Saturday outside a nightclub, hence the props which include booze, cigars, lighters and playing cards. There is also a mention of Balthasar's 1950s microphone which she uses to sing 'Sigh no more, ladies, sigh no more”. 

Other items to be carried on to the Swan Theatre stage include a bike, table, chairs and a bush or large pot plant, which Benedick hiders behind. The type of book needed “AK47 [rifle]manual/diary/jokes!” has not been specified yet. At the end of each scene, the Stage Manager notes any items that need to be carried off the stage.

Benedick in a bush

“I should think this a gull, but that the white-bearded fellow speaks it: knavery cannot sure hide himself in such reverence”. Benedick, Act 2 Scene 3

In this photograph from the 2006 production of Much Ado About Nothing, Benedick (Joseph Millson) is just visible as he eavesdrops on Don Pedro, Claudio and Leonato discussing Beatrice's hopeless passion for him. This is one of the scenes visualized in the previous image of the storyboard and we can see how the bush is used to dramatic effect to camouflage the snooping Benedick. 

Reviewers noted that Joseph Millson's Benedick and Tamsin's Greig's Beatrice made a funny, intelligent and passionate pair. In the course of the play, Millson's Benedick changed from a flippant batchelor to a faithful lover, prepared to kill one of his friends if honour and Beatrice's love demands it.