A front-row view of MUCH ADO

By Ann Dunham
Student Blogger

Editor's note: We asked Ann Dunham, a student at Deer Isle-Stoningon High School, to write about her experience of seeing the Opera House Arts productions of Much Ado About Nothing and Elizabeth Rex, which ran in repertory during Shakespeare in Stonington in July. This is part one of her reporting. I like this post because Ann describes both the surrender of imagination that can occur in theater and the anxiety many theatergoers feel when the fourth wall is broken by actors who interact directly and unpredictably with the audience. Read Ann's thoughts on Elizabeth Rex here.

Much Ado About Nothing was a marvelously funny Shakespearean comedy performed at the Stonington Opera House this summer. I had the unique experience of sitting in the front row for the show, and therefore being very close to all of the action.

Because the Opera House is on the smaller side, the actors use every bit of space to perform, including the aisles. As the play began, I was excited to be sitting front and center because I could see every step, every flip of the wig, every fall in a little more detail than most everyone else. I was getting very into the play as the actors pranced through the Opera House as if their characters were very real.

However, as the play went on, I nearly forgot that these characters were only characters, and became quite nervous, because Benedick, a very powerful, unpredictable character, continued to pace back and forth in front of the first row of seats. I worried what he might do. Perhaps he would once again mimic a bull and charge at anyone within range. Perhaps he would decide to involve one of us front-rowers in one of his dramatic speeches. Luckily, nothing of the sort happened, and I lived to see another day.

While Benedick was sitting on the edge of the stage and walking the aisles, I began to peer behind him at some of the other characters. I noticed their gestures, body language and eye rolls which showed Beatrice’s conflicted relationship with Benedick, Hero’s mad love for Claudio, Antonia’s strict loyalty to her brother.

I also, very amusedly, noticed all of the characters hiding in the background, spying on the greater action of the scene. All of my favorite pieces of the play were ones where someone was eavesdropping behind a corner. Not only because their methods of “hiding” were often ridiculous and hysterical, but also because it was so forbidden and mischievous. All of the overhearing caused quite a convoluted plot, which only made the play more amusing.