Much Ado About Nothing: A SCAD Bards Production
Written by Brett Glisson. Photos by William Brown.
“Welcome aboard the SS Messina!” greeted Seacoal (Sofia Walsh) and Watchman (Olivia Dargis), both donning straw boater hats and suspenders, as I stepped into Room 313 of Crites Hall. This was my first time attending a SCAD Bards production, and while I hadn’t expected the play to take place in a classroom, I was impressed by how much the cast and crew achieved with so little. Two rows of chairs formed a circle around a bare center space, creating a makeshift stage.
Directed by Maleah Gilliland, with stage management by Bella Nunziante, this reimagining of William Shakespeare’s “Much Ado About Nothing” transformed an ordinary room into the deck of a 1930s cruise ship. Cooper Critchley’s costume design helped establish the era and nautical theme, with characters dressed in pinstripe trousers, seersucker suits, sailor-style peacoats and crisp navy-and-white stripes to express the glamour and leisure of ocean travel.
With little more than stage cubes, a few chairs, and elegant glassware in hand, the actors pulled me into a world of romance, laughter and villainy on the high seas. The story followed two couples: Hero (Paris Evans) and Claudio (Benjamin Goddard), who were nearly torn apart by deceit, and Beatrice (Gretta Griesbach) and Benedick (Simon Loug), who were tricked into confessing their feelings for one another.
“Lend us thy ears,” said Beatrice and Hero. “If thou shall ignore these words, thou wilt be a banquet for the fishes.” It was nearly showtime, and we were informed that this would be an interactive experience—audience members would become a part of the show. Those seated in the front row were even advised to keep personal items in their laps for the safety of the actors. I had a feeling this intimate production wouldn’t disappoint. From the moment I stepped into the room and heard Ella Fitzgerald singing “It’s Only a Paper Moon,” followed by “Lullaby of Broadway,” I knew I was in my element. Jazz and Shakespeare? Sign me up.
The immersion was central to the production’s charm. In one scene, Benedick “hid” beneath the chairs in the front row as Claudio, Leonato (Liv Meredith) and Don Pedro (Bo Polizzi) loudly staged a conversation about Beatrice being madly in love with him. The audience laughed as Benedick crawled from seat to seat, occasionally poking his head out from under someone’s legs. The whole time, I couldn’t help but wonder how the Bards managed to keep a straight face.
In the next scene, Beatrice falls victim to the trickery. As she eavesdropped on a conversation between Ursula (Julianna Salinovici) and Hero about Benedick’s supposed love for her, she crawled behind the chairs on stage, making her way toward the second row. Everyone laughed as she moved in front of us. Since I was seated in the second row, Beatrice stepped over me, playfully signaling a “shh” to ensure she wouldn’t be caught.
The masquerade scene was a standout. As Benny Goodman’s “Sing Sing Sing” played through the speakers, the entire cast wore masks and danced together in the center of the stage. This was the first time the room was completely dark, lit only by the shimmering blue lights on the ceiling and walls. Some actors even handed off their drinks to people in the front row, further breaking the fourth wall and making the experience more immersive.
Much of the play’s chaos stemmed from the scheming of Don John (Ro Burton), who enlisted Borachio (Smith Ruchinya) and Conrade (Isabella Halteman) to help sabotage Hero and Claudio’s relationship. Their plan succeeds when Borachio wooes Margaret (Sofia Hernandez) at the masquerade while Claudio and Don Pedro look on, mistakenly believing she is Hero.
When Hero was publicly shamed at her wedding, Antonia (Sydney Geiger) supported Leonato through his daughter’s disgrace. It was then Friar (Agustina Coretti) who later suggested faking Hero’s death to preserve her honor and buy time to reveal the truth.
Verges (Addie Billingsley) and Seacoal were the perfect duo as they helped unravel the truth in a delightfully chaotic interrogation scene conducted by the literate Sexton (Erin Bissonnette). The two darted back and forth across the stage, struggling to convey the necessary information. Every Shakespearean comedy needs a bit of levity when the tension starts to rise, and the audience is happy to see love triumph in the end, with Hero and Claudio reunited and Beatrice and Benedick setting aside their pride to be together.
As the final bows were taken, it was clear how much blood, sweat and tears had gone into this production, not just from the cast onstage, but from the dedicated crew behind the scenes as well. Creative consultant Aria Brown and actor’s advocate Katherine Severin helped bring the performance to life with their vision, guidance and support to ensure the cast could thrive in such a demanding, intimate space.
The stage is not for the faint of heart. I left “Much Ado” with a deeper respect for actors and the commitment they bring to their craft. It takes a whole lot of courage, confidence and discipline to be a performer. The SCAD Bards have what it takes, and I can’t wait to see what they do next. Until then, bon voyage!
