“Lies Spread Faster Than the Truth But Have a Shorter Shelf Life”
February 25
Fisher-Grant kicked off a discussion about the show’s concept, focusing on interpretation leading to mood leading to a setting for the show. He introduced a worksheet idea to guide Thursday’s conversation, which the group agreed to use. We discussed what the show is going to look and feel like. One ensemble member suggested corsets and poodle skirts. Another offered to shave a tantra in her head as the Friar.
Fisher-Grant asked about the interpretation of the piece. “What is our play about? What is the message? What do we want the audience to walk away talking about?” One participant responded, “They’re gonna talk about Dogberry and the foolishness.” Another added, “They’re gonna say this is just like prison.” When asked why, the group responded, “Catty,” “Talk shit, fall in love,” “Talk like a crackhead but they love you,” “Say they love you but they talk behind your back.”
Participants debated character interpretations, with one member envisioning Benedick as a matador, leading to a discussion about foam swords. Another suggested setting it in the “Gone With the Wind” era, incorporating dresses and coattails. “I’ll wear a trench coat,” another ensemble member called out.
Fisher-Grant asked, “What does this play mean to you?” Responses varied: “Rich people problems,” “How aristocracy sets up marriages and the hierarchy,” “Lies spread faster than the truth but have a shorter shelf life.” Others added, “Love, scandal, betrayal, soap opera,” “You can’t always base what you think by what others say.” Another noted, “Leonato was so quick to disavow his daughter. He was quick to do homework on Antonio’s message, but not with the allegations of his daughter.”
Discussions about visual elements followed. One member suggested “Opulence, royalty, high-end.” Others chimed in, “Mafia, rubbing hands,” “Fake pinky rings,” and animal masks for the masquerade scene to represent the hierarchy of the animal kingdom. Facial hair was debated, with the challenge of Benedick shaving mid-show leading to creative problem-solving.
To end the session, the group worked through Act 2, Scene 1, with some debating whether to cut an exchange in the dance. Fisher-Grant challenged them to refine it by Thursday. We closed with games: Demand a Dance and Raise the Ring.
February 27
Fisher-Grant passed out a worksheet on theme and context. One ensemble member suggested, “Benedick and Beatrice are actually Adam and Eve with magical friends.” Another likened Much Ado to the 50s, saying, “The way it moves to me… and the way that they court them is very 50s.” While this idea gained enthusiasm, another participant questioned if the language would fit the era, prompting a discussion about modern context in professional Shakespeare.
Another participant proposed a Civil War setting: “I like the Civil War ‘cause it’s brothers against brothers.” She also noted it “would be cheaper for the budget.”
The group brainstormed words and phrases associated with the script:
“Little kids in school. Where one little boy makes fun of the girl he likes.”
“Trying to find love can be crazy.”
“Don’t climb too high or you might fall down. Or learn how to fly.”
“A lot about pride… about other people’s opinions.”
“He-said she-said. Don John is manipulative. He’s the guy in school who gets picked on and becomes a villain.”
“You can never really tell when someone else plants a seed.”
“Romance can happen anywhere. No love, just jealousy.”
“Making a mountain out of a molehill.”
“Believe what you see, not what you hear.”
The group debated setting options. One ensemble member envisioned it as a circus: “One minute you’re in the funhouse, the next you’re on the Ferris wheel.” Another said it felt like flipping through a news channel, leading to ideas of using a banner or a newscaster narrator. Some preferred a “Comedy Central or Real Housewives” vibe, while another wanted it “like SNL… people looking good, outrageously funny with the cast having the time of their lives.”
Returning to the Civil War concept, one member suggested: “When Hero first comes on it’s Civil War. When Hero gets married again, then the era changes.” She envisioned Gone With the Wind-style costumes, with soldiers in “white peasant shirts, riding boots, and a hat,” jackets for formal moments. Another proposed color-coding characters: green for villains, blue and purple for royalty.
A vote was held. The Renaissance setting was eliminated first. The final vote sealed Much Ado About Nothing as a Civil War-era production.
We wrapped up the night with physical games to counterbalance the discussion-heavy session: Whoosh, Wah!, Animal Sounds, and The Counting Game, where the group reached a high score of 36. The session ended with the ring, solidifying excitement for the production’s newly chosen setting.