The document outlines plans for a production of William Shakespeare's play Much Ado About Nothing, including the director, costume designer, set designer, and light designer providing details on their vision. The director plans to closely follow the original script and story, while the designers discuss authentic 16th century Italian styles for costumes, realistic mansion settings, and lighting to set appropriate moods and locations. Key cast members are also proposed, including Benedict Cumberbatch as Benedick and Daniel Radcliffe as Claudio.

1. By :Director Nicole Churbock , Costume
Designer Jasmine Aquino, Set Designer Jaira
Pereznegron, and Light Designer Nickolas Start
MUCH ADO ABOUT NOTHING

2. Since the aim of this production is to honor William Shakespeare’s play by
following the original story as closely as possibly, I would adapt the script
directly from the book.
Most likely Penguin Classics version
Certain words have a more Shakespearian feel than similar words in other versions
I would discuss any questions I had about overarching themes or loose ends
with a play critic or an individual who studied Shakespeare in depth to garner
a deeper understanding and appreciation of the material.
DIRECTOR NICOLE CHURBOCK
SCRIPT

3. Young Castilla Flockhart as Beatrice: She’s already familiar with performing
Shakespeare as she was casted as Helena in the 1999 film. She perfected
playing a profound yet talkative role, so I believe she’ll do a great job playing a
witty, loving, and generous woman.
Benedict Cumberbatch as Benedick: If you don’t think Benedict
Cumberbatch could whoop you in a battle of wits, you haven’t seen Sherlock.
He has a reputation already for playing odd yet brilliant men, and he has
appeared in London theatres since 2001. Taking on a sassy aristocrat will be
no trouble for this abled actor.
CAST

4. Daniel Radcliffe as Claudio: Mr. Harry Potter is already very familiar with
playing a noble heroic figure who sometimes gets consumed with his
emotions. Throughout the play, it becomes evident that Claudio still has a lot
of maturing to do, as exemplified through his fickle feelings for Hero. Daniel
Radcliffe can mix the perfect amount of angst and heroism needed for this
role.
Lily Collins as Hero: She can play quiet and submissive well. Hero has a lack
of distinguishing characteristics and doesn’t often speak up, but she is sweet
natured, pretty, and the typical “good girl”.
CAST CONTINUED

5. Antonio Banderas as Don Pedro: Don Pedro is the most powerful and
influential character in the play. He’s a socialite, politically influential, and a
total sweet-talker. He’s also the covert matchmaker in the play. Who better to
play a sly, powerful “prince” than the Spanish heartthrob, who is additionally
familiar working in a theatre?
Gerard Butler as Don John: Don John is never delved into as a character.
He’s pretty much the typical bad guy. Gerard Butler charmed me as the
troubled bad guy in the Phantom of the Opera, and he has the menacing smirk
that screams, “Don’t trust me!” While the audience will immediately recognize
his fake nature, the characters will not be able to identify this as quickly.
CAST CONTINUED

6. Much of Much Ado’s conflict arises because of manipulation and
dishonesty, which are central themes in the play. The “spine” of the play
therefore lies in the idea that everyone will lie in some way or another to
achieve their own means to an end
Simplest, most one-dimensional way to understand this idea is to watch/read the play with
the mindset that everyone is selfish and working out of self interest
Not necessarily true, but in almost all cases, lying is caused by a character’s motivation to achieve some
desired end through deception
THE “SPINE”

7. Out of desire to adhere to Shakespeare’s original vision as closely as possible,
the style of the play will be realism set in the 16th century.
For the directorial concept, I feel that costumes, scenery, and props should
have a warm, breezy, Mediterranean feel.
The style should be fun and light to reflect the comedic nature of the script.
The purpose of this choice is to remain true to the original spirit of the script.
I want to emulate Shakespeare’s spirit rather than boast a lame, floundering
directorial gimmick.
STYLE/DIRECTORIAL CONCEPT

8. Style for Men:
Men wore long sleeve, white linen, shirts that had a round neckline that was
bordered with embroidery.
The doublet would be waist length. Laces were used to hold pieces together,
such as the sleeves. It is worn under armor to deter physical damage
Jerkin is a leather vest that extends down to the knee
Upper hose is covers the upper thighs to the waist
Much Ado About Nothing was taken place in the 16th century at Messina,
Italy. The style of the casts’ attire will reflect the early fashion that was the
time when medieval styles were transitioning to a more renaissance sort.
COSTUME DESIGNER
BY: JASMINE AQUINO

9. Style For Women:
Women (and men) wore a stomacher,
which was a garment used to conceal the
chest and stomach. Women wear this
under their bodice. The bodice provides
the lady with a curved waist, flat chested,
appearance.
Skirts were long and hand an open down
the front of the skirt.
Working women wore a kirtle: a sleeveless,
square neck, dress that was laced up on
the side or the back
The shoes’ materials were either wood
COSTUME DESIGNER

10. Relationships:
Hero’s Father
Beatrice’s Uncle
Good friend of Don Pedro
Role:
Governor of Messina, Italy
His house was the main setting of the play
Personality:
Well-known and loving man
Easily persuaded by words and other characters which applies to the
theme that lies and deception can easily destruct love without
communication.
Symbolic Costume:
Because he was an important man, his costume will have silk since it
represents wealth
Purple, indigo, and bright red colors will represent his important
presence
Because he is old, he will have a white beard, and use makeup to
resemble wrinkles
LEONATO

11. Relationships:
Daughter of Leonato
Beatrice’s Cousin
Claudio’s lover
Role:
To fall in love with Claudio
The victim who is blamed for Don Jon’s
immoral scheme
Personality:
Shy and sweet
Holds no grudges, such as when Claudio
shamed her at the alter on their wedding
and she happily takes him in after she is
proven innocent
HERO
Symbolic Costume:
To stay in style, Hero will wear a skirt that opens
in the front and a wheel farthingale with lace
around her neck
Pink represents her positive, and feminine
personality. White will reflect her purity and
virginity.
Corset to have a straight posture
Hair is pinned up to show elegance

12. Relationships:
Daughter of Antonio
Hero’s Cousin
Lover of Benedick
Role:
To put aside her jokes and puns, to show love towards Benedick; to
be afraid of love
Appear as if love and marriage was not what she wanted, when truly
she longs for Benedick
Supporter of Hero
Personality:
Sweet, yet sarcastic
Holds no grudges, such as when Claudio shamed her at the alter on
their wedding and she happily takes him in after she is proven
innocent
Prideful
Symbolic Costume:
Corset to keep upper body forward and have a straight posture
Red represents her strength in maintaining content, as well as her
determination to stay away from falling in love
Hair is pinned up
BEATRICE

13. Relationships:
•Loyal follower of Don Pedro
•Lover of Hero
•Good friend of Benedick
Role:
•Fall in love with Hero
•Has a reputation of being a well-liked, charming man
•A soldier who follows Don Pedro
Personality:
•He is shy and emotional, such as when Don Pedro had
to court with Hero for her to have interest in him
•Easily gives up, such as when he gave up Hero twice
because of how easily he was deceived by Don Jon
•Very gullible
•Gives into his emotions; can be childish at times
Symbolic Costume:
•To represent his soldier title, Claudio will wear an
armor above his clothing.
•During the times when he is feeling in love, he will
wear warm colors to symbolize his happy mood
•During the scenes where he is feeling vengeful, he will
wear a dark, violet, reddish color to symbolize his
frustration
•His clothes will be embodied with silk to show his
pride
CLAUDIO & BENEDICK
Relationships:
•Good friend of Claudio,Lover of Beatrice
•Loyal follower of Don Pedro
Role:
•Evidently express his love for Beatrice
•Careless about love and marriage, such as when Benedick
jokes around with Claudio while he was upset over Hero
Personality:
•Sarcastic, which is why he complements well with Beatrice
•In the beginning, he comes up as careless, but in the end he
finds his priority in love and is loyal to Beatrice
Symbolic Costume:
•When in his soldier attire, he will wear an armor above his
clothing
•Most of his costume will consist of blue to represent his loyal
personality
•Breeches will be worn

14. Relationships:
•Good friend of Leonato
•Leader of Claudio and Benedick
•Brother of Don Jon
Role:
•Powerful character in the play, since he is Prince of Aragon
•Creates that loving environment between a couple, such as when he
courted Hero for Claudio or tricked Beatrice and Benedick to fall in
love
•The man who is looked up to by everyone because of his maturity
and title
Personality:
•A loyal friend, A believer in love
•Humble and wise
Symbolic Costume:
•Applying red to his costume will represent his leadership quality.
Yellow will bring out his positive qualities of his effort to bring out
love
•Short hair and a groomed beard
Relationships:
•Brother of Don Pedro
•Head of Borachio and Conrad
Role:
•The trouble maker who envies those that are successful
•Creates the tension and difficulties between relationships
•An outcast, or “a bastard”
Personality:
•Deceiving
•An honest man to himself, yet misleading to others
Symbolic Costume:
•Black will show his evil quality
•A dull and simple style to represent his feelings about his own
character, which are different and unloved
•Hair will be long to go along with his outcast appearance
DON PEDRO & DON JON

15. Relationships:
•Hero’s Servants
•Borachio’s lover (Margaret)
Role:
•A lower-class woman (Margaret)
•Innocently used to deceive Hero (Margaret)
•Helped bring Beatrice and Benedick together (Ursula)
Personality:
•Obedient, patient (Ursula)
•Young and somewhat disloyal (Margaret)
Symbolic Costume:
•A kirtle will show their occupation
Relationships:
•Don Jon’s followers
•Margaret’s lover (Borachio)
Role:
•Invented the plan of tricking Claudio to honor Don Jon and
uses Margaret’s love to their advantage (Borachio)
•Loyally serves Don Jon
Personality:
•Loyal and sinful
•Enjoys making trouble
Symbolic Costume:
•Black jerkin with blue lower hose to show their evil character
and their loyalty to what they believe in
MARGARET/URSALA &
BORACHIO/CONRADE

16. Relationships:
•Under Verges’ authority
Role:
•Has a speaking problem, known as the stuttering sergeant
•To communicate to Don Pedro and Claudio that Conrade
and Borachio has been arrested
Personality:
•Passionate about his career
•Strives to communicate well
Symbolic Costume:
•Because of his occupation, his costume will consist of the
Italian colors: green, red, and white
Role:
•Marries Hero and Claudio
•Brought hope to Leonato that Hero is innocent from
what she was accused of and arranged the idea to claim
she was dead until the truth comes out
Personality:
•Pure and holy
•Wise
Symbolic Costume:
•White beard, to look old to symbolize his years of
wisdom
•A brown robe to suit his role as a friar
DOGBERRY & FRIAR FRANCIS

17. The scenic environment of this play
would be help in a mansion that was built
in the 16th century. The play’s setting is in
Leonato’s house and since he is the
Governor of Messina, Italy he has to live
in a fancy mansion that goes along with
the power he has.
SET DESIGN: JAIRA PEREZNEGRON
SCENIC ENVIRONMENT

18. This example of a hand crafted chair made in
the 16th century is a perfect example of how I
am going portray the confusion of what the
audience will see on stage. When it is open
you can clearly see a chair but when it is
closed you try to figure out what exactly that
object is.
MOOD & STYLE
The room here portrays colors that I believe set up the
moods the play tries to establish. The play has a tone/mood
of love, romance, passion , chastity, and sometimes even
anger. The red color on the walls and furniture represent
the tones/moods I mentioned above of Love and Passion.
It could even portray the anger that the characters feel when
they are being manipulated by the antagonist of the play.
The white color represents the chastity and innocence that
Hero resembles throughout the play. The patterns on the
furniture, wall, and carpet are all different which kind of
throws the audience off about what the set represents.

19. In this play the set would be a of a realistic theatre because the events that
occur are drama of the love situations that one can encounter in an everyday
life situation. It might not be the actual person experiencing this drama due to
love but one can be a bystander or witness of these types of events. There are
even times when we see couples verbally fighting and we tended to find it
funny. It is also a realistic theatre because of the setting that the place contains
which is always in Leonato’s estate; room or hall. The audience will be able to
notice this by the furniture, tables, and pictures in the set that resemble a
room of any house hold
REALISTIC THEATRE

20. This picture is helpful in
determining the locale and period of
where the play is happening. By the
condition and type of furniture you
can tell that wealthy people reside in
that house. The furniture also helps
us realize that the time period is in
the 16th century due to the set up of
the set. The paintings of what look
like royal/important people aren’t
used in our modern day.
LOCALE & PERIOD

21. The Director of our play believes that we should
have the visual image of the play as fun and full of
life and I agree with this concept. Which is the reason
I would have the set with bright colors mostly red,
pink, and white. This would allow the audience to
sense that it is a comedy despite the serious scenes
going on during the play. Another thing I could do to
help the audience understand it is a comedy is to
instead of adding serious portraits of royal people on
the walls of the room I would add funny posses of
the royal people. This would help the audience see
that they do not have to take everything that happens
serious
EVOLVING A DESIGN CONCEPT

22. The set would have beaver fur hung as a
masterpiece which would help symbolize
how we tame not just other species but
also amongst each other. For example
Benedick tamed Beatrice heart as well as
Beatrice tamed Benedick’s heart. This is
visible when we would read that the
characters said they would never marry
that they would rather die alone yet in
the end they are both in love. The beaver
skin as well could symbolize death which
is used to bring Claudio and Hero
together in the end of the play
CENTRAL IMAGE/VISUAL
METAPHOR

23. What I would do now to ensure that the set fits properly is create a ground
plan and set out where I would place the chairs, couches, tables, etc. It would
also help me know how many objects I will be able to place in the stage
without making it feel too empty because I feel that the set should be kind of
crowded. This would help reinforce the idea that whatever one character does
affects the others around him, if you start to move around in a crowded room
you will inevitably bump into people and other objects.
COORDINATION WITH
PRODUCTION ELEMENTS

24. Lighting will help set the mood and
establish the locations for the scenes.
Since the setting for the play is at or
outside Leonato’s house, most
indoor scenes will employ white light
to create the appearance of indoor
or sunny, outdoor space (exceptions
to follow)
LIGHTING DESIGN: NICKOLAS START
Source: promotionentertainment.com

25.  Act II, Scene 1: The Masked Ball.
Colorful reds, yellows and greens
should compliment the costumes worn
by the actors in this scene.
 Act II, Scene 3: The arbor scene. Since
it is the later pre-dinner hours by this
point, subdued lighting will give the
scene an evening look and make
Benedick’s “hiding” more convincing.
SPECIFIC LIGHTING, BY SCENE
Source: birminghamhomeandgarden.com

26.  Act III, Scene 3: The policeman scene.
Dim, blue-grey area lighting and a
streetlamp or two will give the
appearance of night and reinforce the
sad notion that Don John has deceived
Claudio into believing his fiancée has
been impure. However, the spotty,
brighter lighting shined around the
streetlamps will not take away from the
humor of Dogberry and Verges.
 Act IV, Scene 1: The Church Scene.
Spotty blue and purple illumination will
create the illusion of a room lined with
stained-glass windows. The dull colors
should not compromise the sad state of
affairs.
LIGHTING, BY SCENE
(CONTINUED)
Source: arteutile.net

27.  Act V, Scene 3: The Tomb Scene. A
relatively small patch of light, about the
size of a small room, will create the
appearance of a box around Claudio, an
illusory tomb.
 Act V, Scene 4: The Wedding Scene.
More spotty colors, but this time a
wider variety of colors will transmit a
more cheery mood, fitting for the
ending of one of Shakespeare’s
comedies.
LIGHTING, BY SCENE
(CONTINUED)
Source: travelblog.org
Source: bugbog.com