

"Bare boards and a passion." - Peter O'' Toole
Much Ado About Nothing
Digital Program

The Players In Alphabetical Order
Owen Bird - Borachio
Emily Glaser - Ursula, Watch 1
Jack Humphrey - Conrade
Hannah Mary Keller - Antonio, Verges
Lauren Landman - Margaret, Watch 2
Molly Loveless - Beatrice
Amber Murray - Balthazar, Friar, Sexton
Brandon Prater - Claudio
Corbin Puryear - Don Pedro
Melina Rabin - Hero
Brandon P. Raines - Benedict
John St. Croix - Dogberry
Patrick Taaffe - Leonato
Ben Tomaiuolo - Don John
The Production Team
William Downes - Director
Victoria Gomez - Assistant Director
Christelly Encarnacion - Stage Manager
Sharon Stevens - Production Manager, Choreographer
Brandon Lax - Lighting Designer
Much Ado About Nothing will be performed with one 15-minute intermission.
Run time with intermission is approximately 2 hours and 55 minutes.

About Classics on the Rocks
At Classics on the Rocks, we believe that just as whiskey doesn't need anything more than rocks to tame its bite, Shakespeare doesn't need fancy concepts, modernizations, frilly costumes, or big sets to make it relatable. All you need are talented actors who trust the text and tell the story. It's classics served simply, on the rocks.
Our mission is to create a warm, friendly environment where actors and audience can come together and experience classical theatre in an easily accessible and engaging way. With Shakespeare as our foundation, we bring the timeless themes of classic works that have defined and redefined humanity to life through intimately staged productions and acting workshops. Learn more at www.classicsontherocks.org
A Note from the Director
When I first chose Much Ado About Nothing for this summer, I found myself asking: what does this play really need to tell its story? I have always been a firm believer that Shakespeare doesn’t need much the text is rich, the characters are vivid, and the story still resonates centuries later. It’s been the core tenant of Classics on the Rocks and my approach since the begining. As I always say, “All Shakespeare needs is actors who trust themselves, each other and the text to bring these plays to life”
But the more I read the more I realized I wasn’t interested in our bare bones aesthetic, with a hint of setting where rich people lounge around waiting for something to happen. I wanted to do something bolder. That's when the idea of setting it in the world of vintage Vegas — inspired by the Rat Pack era took hold. The wit, the banter, the bravado, the nonstop party atmosphere: it all fits. So does the dynamic between men and women. In Much Ado, we’re dropped into a world where men run the show and women are expected to play along — until the stakes shift, and the women are forced to push back. The comedy, the heartbreak, and the eventual healing all feel right at home in a time when the old “boys’ club” mentality was beginning to crack.
At its core, Much Ado is a celebration of love — in all its messy, ridiculous glory. The “tender trap” as the song goes. And like the best romantic comedies, Shakespeare gives us the gift of watching people grow, change, and learn how to truly see each other. By the end, couples come together not in spite of what they’ve been through, but because of it — stepping into a future that’s more honest, more inclusive, and maybe even a little more hopeful
Much Ado: The Cheat Sheet
At the hottest lounge in town, you don’t just exist—you belong. And if you wanna run with The Pack, you follow The Code:
🎲 Loyalty above all
🕶️ Look sharp, stay sharp
😎 Cool is effortless
🤫 Private stays private
The scene: Leonato runs one of the classiest lounges on the Strip with his daughter, Hero, and his niece, Beatrice—who’s got a martini-dry wit and zero time for men. Suddenly, the big headliners roll back into town returning from war and ready to party: Don Pedro (the suave and boisterous prince), his right-hand man Claudio (young, dreamy, and maybe a little dramatic), and Benedick (charming, sharp-tongued, totally allergic to commitment).
Claudio takes one look at Hero and is like, “That’s my girl.” He’s ready to put a ring on it before the neon lights flicker. Meanwhile, Benedick and Beatrice pick up right where they left off—flirting through insults like it’s a contact sport.
Cue a wild masquerade ball: cocktails are flowing, identities are fuzzy, and feelings get real. By the end of the night, Claudio and Hero are engaged, and everyone’s betting on whether Beatrice and Benedick will ever admit they’re into each other.
But trouble's brewing in the smoky corners of the lounge. Don John (Don Pedro’s bro and resident buzzkill) is bitter, bored, and looking to ruin someone’s night. He teams up with his sketchy cronies Borachio and Conrade to pull off a scam: make it look like Hero’s been sneaking around with another guy (spoiler: it’s just Borachio and Margaret, totally not what it seems). Claudio takes the bait.
At the wedding, things go off the rails. Claudio calls Hero out mid-ceremony, she faints in shock, and her dad is so mad he practically kicks over a roulette table. In a world where reputation is everything - this slander and scandal is a serious blow. So, the Friar’s like, “Let’s fake Hero's death. That’ll fix it.” (Seriously, Friars always go for the fake death route.)
While everyone else is spinning out, enter Dogberry—the overly confident head of security and self-declared "chief of the watch." He talks like he’s swallowed a thesaurus, but somehow, he and his squad actually catch Borachio bragging about the whole scheme. Hero’s name gets cleared and Claudio and the Prince see the error they made.
To make it up to everyone, Leonato tells Claudio, “You broke my daughter’s heart, but if you really feel bad, marry this niece I've never mentioned before who just happens to look exactly like her.” (Spoiler: it’s Hero. Vegas and Shakespeare love a dramatic reveal.)
Claudio agrees, Hero unmasks herself, and just like that—boom—happy ending! Benedick and Beatrice also finally admit they're totally into each other, and decide to tie the knot too. Love wins, the lounge lights dim, and everyone dances the night away.
The end.
Meet the Cast
Check Out Our Podcast

On ”Will: What Is He Good For?” we explore the question of who was the Real Shakespeare because understanding who he was can unlock the key to understanding his works and words in a new way. It also can help to inform the argument - who is he for? Is Shakespeare an old relic of his time? Or is he indeed for everyone who wants to experience his plays? Throughout our series, we explore the Man from Stratford’s life, history, and explore textual clues that will prove who owns Shakespeare’s words, relevance, and most importantly his legacy.
Available on:
and on our website at www.classicsontherocks.org/podcast.
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Special Thanks
It takes a village to put on a show. Without the support, talent, contributions, and generosity of the following people this production could not exist.
Pam and Jeff Stevens
Dee and David Gomez
Krissy Kennedy
Ben Tomaiulolo
Emily Munson
Corbin Puryear
Andrew Bisdale
Brandon Lax
Koki and the Staff of The Actor's Theatre Workshop
"I can no other answer make but thanks, And thanks; and ever thanks." - Sebastian, Twelfth Night
Support Live Theater in NYC
Classics on the Rocks is a fiscally sponsored Project of Fractured Atlas, a non for profit arts service.
Your donations will help us to continue our mission of bringing the works of Shakespeare and his contemporaries alive, as we ask ourselves and our audience what it means to be human.
These tax deductible donations will not only help pay for rehearsal and performance space, print scripts and programs for our stage plays, but also help with our educational series "Working Classics" our text analysis and scene study workshop.
If you'd like to support our company and productions please consider contributing to our company here!
Thank you in advance for your support.



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