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Much Ado About Nothing
Digital Program

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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.

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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

Podcast Design Will What Is He Good For

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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