The document provides details about designing sets for a production of William Shakespeare's play "Much Ado About Nothing". It discusses choosing a Renaissance period setting that reflects the play's original late 16th century Italian context. The main set would be Leonato's house, with movable pieces allowing it to represent both the house's interior and exterior. Additional minor sets like the garden would be suggested through backdrop images and props. The set aims to both evoke the historical period and facilitate the comedy through elegant yet flexible staging.

1. MUCH ADO ABOUT
NOTHING
BY WILLIAM SHAKESPEARE

2. A DIRECTOR’S CUT
One of the most crucial members in the
theatre field is the director. The director is in
charge of orchestrating the production of a
performance by combining the different
elements of theatre into one. The director is
also in charge of choosing and modifying the
script in order to best accommodate his
vision of the play.

3. AN INTRODUCTION TO MUCH
ADO ABOUT NOTHING
Written between 1598 to 1599 by William
Shakespeare, Much Ado About Nothing is a
comedy about Benedick and Beatrice, two witty
lovers who try to hide their feelings out in the
open. At the same time, Claudio and Hero are
another couple who are spellbound by each and
are broken by a belief that Hero has been
unfaithful.

4. CHOOSING THE SCRIPT
My group decided on “Much Ado About Nothing” as our
play and script because it was a comedy written by
Shakespeare himself, the setting was interesting and similar to
the popular, “Romeo and Juliet”, as it is in Italy.
As the director, I wanted to keep the play authentic to its time
period. Even though the play can be too long to fit into the
standard one and a half hours to two hours time frame, it is
important for me to utilize the entire script that Shakespeare
had originally intended to use. This would mean the inclusion
of all of the minor characters and lines in order to capture the
entirety of the play that Shakespeare originially created.

5. CASTING
Casting is hugely important in theatre. The
actors and actresses chosen will have to embody
the characters of the play to the best of their
ability. It is up to the director to find people that
fit the description of the character both visually
and emotionally.
The next few slides will contain the main
characters along with the actor/actress I believe
would be able to assume the role

6. MICHAEL CAINE AS LEONATO
Michael has been involved in films
such as Batman Begins and The
Dark Knight. In these films, he
plays characters who are serious,
but has a sense of humor. He
creates a father-figure of sorts for
the main character. He would do
well as a nobleman as his roles are
butlers who know how to be
„posh‟.

7. ANNE HATHAWAY AS BEATRICE
Anne Hathaway possesses comedic
experience and could also believably
achieve a masculine look, while
retaining that distinct femininity about
her. She would be able to become the
strong-willed and clever woman
Beatrice is. Anne is my preferred
choice for the role of the heroine.

8. ASHTON KUTCHER AS BENEDICK
Benedick is the witty and clever
version of Beatrice. Ashton would
play this part well since he is such a
proud and egotistic man, yet can
also be extremely funny. He‟d had
experience by acting in a multitude
of roles. His role in Butterfly Effect
showed his variety in acting.

9. JOSH HUTCHERSON AS CLAUDIO
Josh Hutcherson is a new face in
modern acting. He has risen as a
new compassionate and strong
actor in Hollywood. This would be
great for Claudio, as Claudio is a
young soldier who falls in love with
Hero. Josh‟s latest role in Hunger
Games show his compassion and
blindness to love.

10. EMMA STONE AS HERO
Emma is a beautiful young face
to acting which makes her perfect
for Hero. Hero is characterized as
lovely, gentle, and kind. She is
also accused of lechery and is
revengeful. Emma‟s performance
in Easy A shows that she can
accomplish being revengeful and
dealing with accusations.

11. BRAD PITT AS DON PEDRO
Don Pedro is characterized as the
“Prince”. He is generous,
courteous, intelligent, and
compassionate. As a
philanthropist in reality, Brad Pitt
shows these characteristics on
and off the stage. Brad‟s role in
The Curious Case of Benjamin
Button showcase his intelligence
and compassion.

12. PETER DINKLAGE AS DON JOHN
Described as envious and dark,
Peter would play Don John
perfectly. Peter‟s recent roles in
the Game of Thrones series layout
his villainous part as Don John.
Peter‟s dwarfism would be great
as a reason for his betrayal and
accusations of Hero.

13. MILA KUNIS AS MARGARET
Margaret is Hero‟s servant.
Although honest, Margaret is seen
not as clever as the rest of the
characters. Mila could play this role
with her various roles as a „dumb‟
female character who is tricked
frequently. This is seen in her role
in That ‘70s Show.

14. TOM FELTON AS BORACHIO
A lover of Margaret and a trickster
throughout the play. Tom Felton can
easily play Borachio. Tom‟s role in Harry
Potter show his wickedness and his age
make him compatible with Maraget‟s
actress. With his experience, Tom can
be believable as the supporting actor of
Don John‟s scheme to frame Hero.

15. SPINE AND THEME OF THE PLAY
Much Ado About Nothing is not a play that can be easily described by a single spine or theme. For
this reason, I will attempt to choose the best description for both
Spine: The play follows the spine of “Finding true love”, the play culminates with the characters finding true
love. Beatrice and Benedick, Claudio and Hero, Margaret and Borachio ultimately end up paired together
throughout the play.
Theme: While the spine focuses more on love, I believe the themes in this play are the importance of honor
during courtship and the transient nature of respect and reputation. The importance of honor is shown
through plots with Hero where it appears that she is not being faithful, even though it is misinterpreted. The
transient nature of reputation and respect can be seen throughout the play as well. Small things can affect the
reputation of a character very quickly and negatively impact the level of respect they receive.
As the director, the spine and theme identifies above should be the main focus. As such, actors should
be informed and scenes must be established in ways that emphasize both the theme and spine.
Examples of usage of set elements to achieve this include focusing lights on a couple embracing or
wardrobe changes for deceived characters (Claudio may wear white at the beginning of the play, then
wear black when he believes Hero is unfaithful and disgraces her.).

16. By: Aum Patel
COSTUME DESIGN

17. HISTORICAL PERIOD
•Widely regarded as on of Shakespeare’s best plays,
Much Ado About Nothing is a comedy that was most
likely written between 1598-1599, during the
Elizabethan era.
•This era was also referred to as the English
Renaissance, as many elements of theatre were
changing during the time period.
•Costumes in this play should accurately reflect the
traditional garb worn by citizens of the time period
•This will help the audience better imagine the time
period and better experience the play

18. PRODUCTION STYLES
•Costumes will resemble the old-fashioned times
and will appear as they did in the late 16th century
•A disparity in clothing can be seen between the
different economic classes, as the wealthy will have
elegant clothing while the working class will be
dressed in more casual attire
•A wide economic gap existed in this time period, as
there were many very affluent people, but also many
poverty-stricken people who lived day to day
Differences in attire in the play can help the
audience differentiate economic statuses of
characters

19. CHARACTER COSTUMES

20. BEATRICE
•Beatrice, the niece of Leonato, is depicted as a
wealthy woman in this play
•As a strong-willed woman who believes that a
woman should be completely independent, she
dresses like a tomboy (harem pants) at the
beginning of the play, disregarding her “obligation”
to dress properly
•As the play progresses, she becomes more “lady-
like”; the costumes she wears throughout the play
should evolve in order to show this progression of
her character

21. Tomboyish attire
at the beginning
of the play
More elegant
dress towards
the end of the
play

22. BENEDICK
•Benedick is a great soldier who is in the service of
Don Pedro
•Due to his status as a soldier, Benedick will be
seen mostly in his military outfit
•As the play progresses and Benedick becomes more
infatuated with Beatrice, he starts to wear more
elegant clothing
•An example of this is when Benedick wears a
formal vest at Hero’s first wedding, forgoing his
usual military attire

23. Benedick’s late
16th century
military costume
Later in the play,
Benedick wears a
formal vest to
Hero’s wedding

24. CLAUDIO
•Claudio is also a high-ranking officer who is under
Don Pedro.
•Claudio is a more qualified soldier than Benedick,
however, which is why he wears his military attire
to all formal events such as Hero’s wedding
•This shows his high-ranking as an officer compared
to Benedick, who chooses not to wear the military
attire to the wedding
•This also shows his high status in society, as
soldiers, especially elite soldiers, were held with
high regard

26. HERO
•Hero is supposedly the main female lead
character in the play, although Beatrice is
often viewed as more important
•Hero is dressed very formally throughout
the play, wearing elegant dresses to reflect
her high social status. She is also seen
wearing pearls in the first act, again
reinforcing her family’s wealth
•For both of her weddings, Hero wears a
traditional white wedding dress

28. DON PEDRO
•Don Pedro is viewed as the most socially powerful
character in the play as well as the most politically
powerful character
•His costume in the play is limited to his military
attire, which reflects his high social standing
•He is the leader of both Claudio and Benedick, so
his military costume will feature more visible
accolades than that of the other two
•He is often referred to as “The Prince”; again his
costume will reflect his upper-class standing in
society

30. DON JOHN, CONRAD, AND
BORACHIO
•Don John is the villain of the play, but the audience
should not be able to tell solely through his costume
•Don John will resemble the characters of Claudio,
Benedick, and Don Pedro in the manner that he will be
wearing his military uniform
•Unlike a couple of the other military men, Don John will
be seen strictly in his military uniform throughout the
entire play
• His evil actions alone should make him into a villain,
with no aesthetic difference from protagonists in the play
•Both Conrad and Borachio will also wear the military
uniforms, as they are associates of Don John

32. LEONATO
•Leonato is the governor of Messina in the play,
which means that his costume will reflect his high
status
•He is not a soldier, however, which will make him
one of the few upper-class male characters who will
not be wearing a military uniform
•He will be dressed in very elegant clothing, possibly
even condsidered a little bit flamboyant, in order to
stress his extreme wealth in comparison to the
other characters in the play

34. MARGARET AND URSULA
•Margaret and Ursula are seen in this play
as women who are of a lower-class
•They are both waiting women, meaning that
they are assistants to higher ranking women
(in this case Hero)
•Their costumes will both be rather plain
clothing, rather than having the elegance of
Hero’s formal dresses

36. DOGBERRY AND VERGES
•Both Dogberry and Verges are policeman in
Messina throughout the play
•The two characters are never dressed casually
throughout the entirety of the play, meaning that
they will only be seen in their policeman uniforms
•Dogberry is the chief policeman of the Watch, so
his uniform will have a little bit more distinction
than Verges
•The costumes will be colored slightly differently in
order to help the audience differentiate between the
two characters

38. BALTHASAR AND FRIAR
FRANCIS
•As a musician and waiting-man in Leonato’s
household, Balthasar will be dressed as a
lower-class member who will be seen often
with a musical instrument
•Friar Francis will be dressed in traditional
attire that was worn by friars in the lath 16th
century; this will be the color brown and will
be accompanied with a necklace with a cross
on it

39. Balthasar Friar Francis

40. By: Ryan Nguyen
SET DESIGN

41. • Much Ado About Nothing is regarded as a comedic play written by
William Shakespeare roughly around 1598-1599.
• It is considered one of his best comedies because it combines several
elements like hilarity and serious matters like honor, shame, and court
politics.
• The play was written and took place during the Renaissance Period.
• Much Ado About Nothing is set in Messina at the Governor‟s house
(Leonato), a port on the island of Sicily. Sicily was ruled by Aragon during
the setting of this play.
• The set of this play would closely resemble designs of the Renaissance
period with Sicilian influence to help the audience visualize and experience
the play in that time period.
HISTORICAL PERIOD

42. • The play mainly revolves around Leonato‟s (The governor
of Messina) home and the grounds of his property.
• The main set would be within Leonato‟s house. Many
scenes take place within different rooms of the governor‟s
house.
• Other minor sets would be other places among the estate
like the garden or the orchard of the house and also the
prison.
• For this play, the best thing would be to use one main set
that could be manipulated to reveal another set for
another scene.
•
SETS USED

43. SET PICTURES

44. • This production is more comedic and satirical. So as
the stage designer I would create a set that would help
show that this play is very comedic.
• A very elegant and stylish set design would be used to
portray a high aristocratic society that would contrast
the very childish actions of the actors.
• The style of this play would be very classy and
elegant, yet allowing room for comedy.
MOOD AND STYLE OF THE
PRODUCTION

45. • This play takes place around the Renaissance period.
• The play is set in Messina, Sicily. The set design would
reveal Sicilian influence on styles that closely resembles
that of during the Renaissance period.
• The set would most likely be the Governor‟s (Leonato)
house and his surrounding property (orchard, garden,
church).
• The period and time frame in which this play takes place
can be established to the audience through the style and
designs of the set and its props.
THE PERIOD

46. SET DESIGN IDEAS
Since many scenes
revolve around the
house, the house could
be used as the main set
piece while little scenes
like the garden or the
orchard could be
created by adding back
drops like in this
picture to the left.

47. SET DESIGN IDEAS
A movable front piece
could be created so that it
could be double sided as
well. That way one side,
when arranged correctly,
could portray the outside
of the house. And
turning the pieces around
to the other side and
arranging it correctly
could reveal the inside
part of the house
(rooms) used for other
scenes.

48. SET DESIGN IDEAS
Many props can be used like fake
plants in pots to simulate the
orchard and garden scenes. Also
props could be used to portray the
church scene as well. It is important
to keep in mind that these props
must fit the theme from the
Renaissance period with Sicilian
influence.
With these props and set designs,
lighting is crucial to help the
audience visualize the artwork
arranged. The lighting can help a
lot with the set and help create the
mood or tone of the scene as well.

49. • The opening scene takes place before Leonato‟s house, so this could be
portrayed to be outside of the house before the characters come inside.
• This particular scene would be re-used in scenes:
• Act 1, Scene 1
• Act 5, Scene 1
SETS FOR EACH SCENE

50. • The most used scene is probably different rooms inside Leonato‟s house.
• The best set to be used in this case would the inversion of the outside of
the house to reveal the inside of the house and the separate rooms.
• That way different rooms can be used as the focal set but the same set can
be used for many different scenes.
• Scenes that would repeat this set:
• -Act 1, Scene 2
• -Act 3, Scene 2
• -Act 2, Scene 1
• -Act 3, Scene 5
• -Act 5, Scene 4
• -Act 1, Scene 3
SETS FOR EACH SCENE

51. • Another set to be used would be an orchard for the scene that takes place
in Leonato‟s orchard.
• Something simple as a backdrop of an orchard could be used here with
several orchard props to help give off that orchard scene feel.
• Scenes that would use this set:
• -Act 2, Scene 3
SETS FOR EACH SCENE
Something similar to the
picture featured in the
right could be used as
the orchard backdrop. It
would be adjusted
accordingly to fit the
scene.

52. • Another set that needs to be implemented would be for the scene
involving Leonato‟s garden.
• This can be accomplished like the orchard scene with a garden back drop
and props.
• Scenes that would use this set:
• -Act 3, Scene 1
SETS FOR EACH SCENE

53. • The last major set design that would need to be implemented would be
those for the church scenes.
• This can be accomplished through many ways by either having another
back drop or actually using church props and pieces.
• Since it is suppose to be an elegant scene, actual church props and pieces
should be used as opposed to the back drop to satisfy this.
• Scenes that will use this set:
• -Act 4, Scene 1
• -Act 5, Scene 3
SETS FOR EACH SCENE

54. By: Bryan Lee
LIGHT DESIGN

55. • Helps focus the moment
• Keeps the flow transitioning from point to point
• Refines the audiences perception of the entire play
• Let‟s the director selectively decide what the audience sees
IMPORTANCE OF LIGHTING

56. SET AND LIGHT DESIGN

57. Messina. Before Leonato‟s House
Use a full spectrum light to mimic daylight on the screen
ACT I SCENE I
Characters
Characters
Characters
Transition Into: Fade In with Lights
Transition Out: Fade Out Lights to shift set

58. A room in Leonato‟s House
Using a dimmer (yellower/warmer) light with the assistance of a spot light emphasizing Leonato and Antonio
Perhaps a light from a window in the set to show the daylight
ACT I SCENE II
Leonato Antonio
Transition Into: Fade In with Lights
Transition Out: Let music play and slightly change set with Exuent

59. A hall in Leonato‟s House
A bright central light with an overall cooler light
Accentuate the background as a ball and social
ACT I SCENE III
Characters
Transition Into: Allow set to be moved into place with music
Transition Out: Fade Out with Lights

60. A hall In Leonato‟s House
Using a warmer light and liven up the scene compared to the last set have everything illuminated with a chandelier or other
substitute
Have dancers and other guests dancing and
ACT II SCENE I
Chandelier
Characters
Guests
Dancers
Guests
Dancers
Transition Into: Fade in with Lights
Transition Out: Shift Set with Music

61. Another room in Leonato‟s House
Illuminate entire set to show that the setting has indeed changed and allow actors to accentuate the moment.
ACT II SCENE II
Characters
Transition Into: Finish Shift of Set
Transition Out: Fade Lights out like a sunset

62. Leonato‟s Orchard
A warm and red/orange sunset type of lighting to place a time on the situation. As the scene progresses have it end with the
sun completely set and the people walking into the house for dinner
SCENE II SCENE III
Characters
Transition Into: Allow “sun” to set
Transition Out: Fade out with lights

63. Leonato‟s Garden
A dark garden scene with dimmed spot lights on the actors have Beatrice hidden with a dark blue light behind the trees.
Only have the bright lights follow Hero and Ursula
ACT III SCENE I
CharactersCharacters
DarklightingforBeatrice
Transition Into: Fade into lightly with dark lighting
Transition Out: Fade Out With Lights

64. A room in Leonato‟s house
Have a strongly lit foreground with a dimmer background. Everyone enters and approaches the front as they “go aside” with a
speaker while the people not speaking will make their way to the back.
ACT III SCENE II
Characters
Characters
Transition Into: Fade into with Lights
Transition Out: Fade Out with Lights

65. Messina. A street.
A cool lighting scheme with a moon to allow the audience to realize that they are indeed outside and in the streets.
ACT III SCENE III
CharactersCharacters
Transition Into: Fade Into with Dark Lighting
Transition Out: Fade Out with Lights

66. Hero‟s apartment
Simulate morning with rising light that could mimic a sunrise. As Ursula wakes Beatrice it should be a full daylight.
ACT III SCENE IV
Characters Characters
Transition Into: Fade into with Lights simulating a sunrise
Transition Out: Shift Set with Music

67. Another room in Leonato‟s House
In the same brightness show Leonato meeting with The Watch
ACT III SCENE V
Characters Characters
Transition Into: Finish set transition
Transition Out: Fade out with Lights

68. Messina. Inside a church
Start with a beautiful depiction of a church and wedding. Slowly heat the atmosphere with light shades of orange as the confl ict
rises and cool it down
as the friar resolves the conflict
ACT IV SCENE I
Friar
Characters Characters
Transition Into: Fade in with Lights
Transition Out: Fade Out with Lights

69. Messina. A prison
A cold place with only one ray of light shining down on the prisoners Borachio and Conrad
ACT IV SCENE II
Ray
Borachio and Conrad
Characters
Characters
Transition Into: Fade in with Lights
Transition Out: Fade out with Lights

70. Before Leonato‟s House
A full spectrum light to emulate sunlight on the road to Leonato‟s house
ACT V SCENE I
Characters
Transition Into: Fade In with Lights
Transition Out: Fade Out with Lights

71. Leonato‟s Garden
Have a warmer late day light a more yellow hue in lighting which also reflects the intensity of the situation
ACT V SCENE II
Characters
Transition Into: Fade in with Lights
Transition Out: Fade Out with Lights

72. Messina. Inside a church
Early in the morning which implies a white or bluer light on the grave at which Claudio is mourning the death of Hero which
hasn‟t happened. Try to confer a true feeling of sincerity in Claudio to show the cruelty in the situation
ACT V SCENE III
Characters
Transition Into: Fade in with Dark Lighting
Transition Out: Fade Out with Light

73. A room in Leonato‟s House
In this light show a white light of that illuminates the truth on a situation
The intensity of the light also signifies the ending of the play
ACT V SCENE IV
Characters
Characters
Characters
Transition Into: Fade in with Lights
Transition Out: Fade out with Lights… Curtain Call