I’ve always been drawn to feistiness. It seems to be the one constant trait in the girls I’ve been smitten with since high school. The sharp retorts, the unimpressed eye rolls, and the sarcastic remarks: for better or for worse, these are the things that pique my interest and prepare me for that unique kind of suffering known as love. On my own, I lack the confidence and wit to succeed in one-on-one situations with shy or unforthcoming women. I need someone to challenge me and force me out of my self-absorbed, overly-staid default state. I need a Beatrice.

Beatrice, Beatrice, Beatrice. She represents the most extreme form of feistiness I’ve encountered in my romantic life. I’ve known two women like her, and let’s just say that neither of them is my wife. I realize that, due to the requirements of a comedic ending, Shakespeare ‘reforms’ both Beatrice and Benedick. In real life, however, such a reformation rarely occurs. While I’m reluctant to suggest that this type of extreme personality is incompatible with long-term relationships, I’m certain that it’s not for me in the long run. This doesn’t mean that Beatrice’s personality no longer affects me. It does and it has: I have a crush on Beatrice.

So, you might be thinking, it’s just a small, playful crush. Ah, but she’s more than just a well-timed clever saying. She has depth and a past that is skillfully hinted at. She’s been hurt, but she doesn’t let that trap her into the typical insecurities and vulnerabilities of a stock character. She rises above it, and if we ignore some of the mean-spirited tricks played by her friends, I have no doubt that she’d forget Benedick as easily as I’ve forgotten past loves. Regardless, I’m sure she’ll continue to verbally abuse Benedick for years to come, while, if his friends’ jests are to be believed, she’ll end up cuckolding him (with me) after he returns to his flighty, bachelor ways. And anyway, I suspect that some of Shakespeare’s comedies are more enjoyable if you simply disregard or adjust the ending when it doesn’t quite feel right.

I’m not the only one in the room with a crush on Beatrice, though. For starters, I have to compete with the Bard himself, who is so enamored with his creation that he allows her to completely overshadow (and sometimes speak for) the ironically named Hero. While Hero may be the plot mover, she’s still a timid little thing with very little personality or reason for us to feel compassion for her. In a way, this is a smart move by Shakespeare, as it keeps the darker aspects of the play in check. Without a large investment in either Hero or Claudio, we can take their misfortunes in stride and enjoy the illusion of lightness in a play that’s full of calculated villainy.

While I’m temporarily distracted from thoughts of Bea, I’ll go ahead and discuss another character worthy of mention, Dogberry. He plays the hit-or-miss role of the clown, but he stands out due to a goofy habit that has been inspirational for modern writers. Both David Foster Wallace and Jonathan Safran Foer have made a practice of substituting incorrect but generally more difficult words in the dialogue of poorly spoken characters for comedic effect, which is exactly what Shakespeare does with Dogberry. So, I must apologize to William for not giving credit where it’s due in past reviews. But where was I? Oh, Beatrice. Beatrice, Beatrice, Beatrice.

*I’ve avoided getting in trouble, right?

"An Absolute Romp" is an expression that vividly describes an experience or activity that is filled with excitement, fun, and a sense of wild abandon. It implies a time of unrestrained enjoyment and entertainment. Whether it's a thrilling adventure, a lively party, or a hilarious comedy show, an absolute romp guarantees to bring joy and laughter. It's a moment when you can let go of your inhibitions and fully embrace the moment. The phrase "an absolute romp" suggests a carefree and lighthearted atmosphere, where anything can happen and everything is possible. It's a time to create memories that will last a lifetime and to have a truly unforgettable experience.

Oh, this was SO MUCH fun!

It was truly an amazing experience. The concept of enemies to lovers in a romantic comedy is always a captivating one, and this particular story did not disappoint.

The characters were well-developed, with their initial animosity towards each other gradually evolving into something more profound and beautiful. The banter between them was sharp and witty, adding an extra layer of charm to the narrative.

The plot was filled with twists and turns that kept me on the edge of my seat, eagerly anticipating what would happen next. The chemistry between the lead characters was palpable, and I found myself rooting for them throughout the entire story.

In conclusion, this was a wonderful romcom that I would highly recommend to anyone looking for a lighthearted and enjoyable read. It had me laughing out loud, sighing with anticipation, and ultimately, falling in love with the characters and their story.

In the exploration I undertook through the works of Shakespeare that I hadn't read, I landed on this comedy that leaves a taste on par with "The Tempest": at times it dazzles me, amuses me, has quite a bit of ingenuity, although it doesn't make me exclaim "How wonderful!".

As soon as I finished it, I went to recall what the devil the expression "much ado about nothing" means. And the result is conceding great importance to what doesn't have it. And of course, I asked myself exactly what it could be applied to in the work, and I wanted to think, I admit with no other argument than my desire, that hopefully Shakespeare is referring to criticizing the concession of the concept of honor that was held then and still persists today, and that has to do with turning infidelity into a matter of blood and drama. Here it ends well, because of the genre it is and because the infidelity isn't such, but the plot could well have triggered in red just like, for example, in "Romeo and Juliet".

Beyond that question, I like quite a few characters, with strong women and funny dialogues; I like that the problem is solved by two real scoundrels, and I like the lightness that is felt, which from time to time is good. In addition, it awakens my curiosity to watch Kenneth Branagh's film again, which in my memory is distant. Once again, culture intertwines and nourishes itself in the best possible way.

Finally, perhaps this work isn't essential, but Shakespeare is always recommendable.

What happened was that I had been rather negligent in paying close attention to my Netflix queue. When Joss Whedon's Much Ado About Nothing was released, I promptly flicked it to the top of the queue, just as I do with all new releases. However, I completely forgot that I had intended to save it for when I actually read the play. (I was also saving Kenneth Branagh's adaptation for the same occasion.) Then, the red envelope arrived, and I simply couldn't let it sit there indefinitely. I certainly wasn't going to waste a few days sending it back unwatched. So, what was a fella to do other than to actually read the play?

And what a remarkable play it is! Ostensibly, it's about a guy named Claudio who falls passionately in love with a girl named Hero, and a bastard villain, Don John, who attempts to thwart their romantic plans for no apparent gain. (Seriously, try to find someone who can adequately explain Don John's motives here.) However, this play is truly about Beatrice and Benedick. As it turns out, Claudio is merely a pushover who has made no contribution whatsoever to the Space Race. And people like that simply don't deserve one's respect.

Beatrice and Benedick, on the other hand, are truly great. And since this is a Shakespearean comedy, they happen to be extremely funny as well. Especially Beatrice. A master of wordplay and sarcasm, her insults are delivered with a stinging precision and the deftness of a ninja. Halfway through the play, her comedic match is met with the introduction of Dogberry, whose humor is a little more...unintentional? Yet, it is nothing short of hilarious.

This play probably has some deeper themes lurking beneath the surface. Beatrice is presumably an early model of feminism in literature, and I'm sure that angle could be explored more deeply. However, for me, it worked perfectly well as a light and breezy romantic comedy. And I'm really looking forward to seeing what Whedon does with it. Wow, did I just describe Shakespeare as breezy? I must be such a pushover!

Oh, and Branagh's adaptation has also been moved up in the queue and should already be waiting for me at home. It's going to be a Shakespeare movie weekend! (In between Red Sox games, of course.)

Tipik Shakespearean conflicts and misunderstandings prevail in "Much Ado About Nothing / Kuru Gürültü", a perfect romantic comedy about humanity. With its complex structure and cleverly crafted plot, the play is one of William Shakespeare's must-read works. The characters in the play are also equally rich. The novel, which deals with the themes of marriage and fidelity in a very comical way with two different couples, Claudio-Hero and Benedick-Beatrice, and its gendered approach showcases the perspective on women in the period when the play takes place. In short, "Kuru Gürültü", a humanist work, is a comic, entertaining, engaging and witty Shakespearean masterpiece.

23.06.2013

Binghamton, NY

Alp Turgut

http://www.filmdoktoru.com/kitap-labo...

This particular work is a part of comedies known as the "Sumy Comedies". The other comedies in this group are ‘Twelfth Night’ and ‘As You Like It’. The atmosphere of these comedies is filled with hilarity and joviality, and Much Ado is the gayest among the three. It is indeed the sunniest comedy of Shakespeare. Just like in the other comedies, there are also elements of the thoughtful and the tragic. However, they do not in any way affect the joyous atmosphere of the play. This is because in this comedy, before every lie is told, we know that it is a lie, and we are certain that it will be detected.

In the story of the treachery towards Hero, the incidents are deeply tragic in their external aspect, and the characters treat them as such. But we, who are in the know, understand that the whole situation lies within the realm where comedy finds its nourishment.

Nothing occurs without us being privy to the secret from the very beginning. Consequently, the tragic does not strike us as truly tragic, and the serious does not diminish the all-pervasive temperament of gaiety. Besides, there is the constant merry war of words between Beatrice and Benedick, and the farcical humour provided by Dogberry and Verges.

The action of the comedy consists of three different strands or movements. First, there is the Hero-Claudio mainplot. It is the common, popular story of a proposed marriage that is thwarted at the last moment due to the machinations of a villain, in this case, Don John.

Secondly, there is the Beatrice-Benedick sub-plot. It dominates the action and pushes the mainplot into the background. Indeed, it constitutes the main charm of the play and creates the most lasting impression on the minds of the readers. It is the story of two professed haters of the opposite sex, of love and marriage, who, in the course of the play, come to love each other and become votaries of the love-god.

Thirdly, there is the Dogberry-Verges episode. Just as Don John brings about complications through his villainy, Dogberry and Verges resolve that complication and bring about a happy denouement. The irony is that villainy is defeated here by the blundering stupidity of Dogberry and Verges.

Like other comedies of Shakespeare, Much Ado is also a romantic comedy, and as such, it is a tale of love that ends with the ringing of marriage bells. Nevertheless, this love-story is used here to demonstrate the contrast between appearance and reality, and illusion and truth. It is a great comedy of deception and the deceived. Nearly every single character in the play harbours one illusion or another, is self-deceived or misled by others, and the comedy shows how these illusions are increasingly shattered and truth is realised.

The contrast between illusion and reality is resolved, and the characters are wiser and better by the end. Thus, the theme of the comedy can be said to be the attainment of self-knowledge and self-understanding through the shedding of illusions and deceptions.

Much Ado has a large number of characters, belonging to diverse strata of society and different age-groups. The characters are, for the most part, presented in pairs: Antonio and Leonato, the Prince and Claudio, Dogberry and Verges, Hero and Ursula, Borachio and Conrade, Benedick and Beatrice.

Each of these pairs represents a single type, and the type, being presented in two forms with individual differences, is all the more fully represented. The Prince and Claudio are like doppelgangers of the undeveloped nobles of the time. War is their business and pleasure, love their relaxation, and nonstop teasing and ridicule their conversation.

They are never serious except on points of honour. On that, they are as sensitive and fretful as a porcupine. They are capable of real friendship and, when in arms, of brotherhood. The one point where Benedick closely resembles their type is in this strength of friendship. When Beatrice cries "Kill Claudio", he answers, "Not for the wide world." Their type is clear, and Shakespeare knew a hundred examples of it.

Leonato and Antonio represent the typical old men of whom Shakespeare made so many studies. Here, the men are both weak from senility but still hold the hot temper of their youth. They differ only as two apples might differ, but Antonio is a more decayed apple than Leonato. Their old age provides a good contrast to the youth of the Prince and Claudio. This contrast is admirably brought out in the scene where they challenge Claudio for villainy. Each of them does it differently. Shakespeare, while keeping the awareness of the type, differentiates the individuality of the men. He never fails in providing both dramatic chance and dramatic work for the actor.

Much Ado is a comedy of wit par excellence. Wit is its most unique quality. This is neither a play of character nor of manners; it is a drama of wit. Everything is secondary and auxiliary to the flash and counterflash of the minds of Beatrice and Benedick.

The gentle Hero, the gullible Claudio, the wicked Don John, and the matchless, muddle-headed Dogberry and Verges play their parts in order that the verbal transaction between Beatrice and Benedick may be effectively staged.

But the drama of wit, however dazzlingly constructed, cannot have deep rootage or expand an imagination. Such a drama must unavoidably seem cold and artificial.

In conclusion, therefore, Much Ado About Nothing does not move us because it subordinates the interest of the character to the interest of brilliant verbal deftness. It is the finest product of verbal ingenuity and audacity of Shakespeare's time, a legitimate and vivid example of a love of paradox, conceit, and hair-splitting juggling with words affected by the man of wit and fashion in that time and effectively satirised in Love's Labour Lost.

Much Ado About Nothing is a great play, though it has its own share of the improbabilities and anachronisms that are usual in a play of Shakespeare. But such minor blemishes do in no way obscure its real greatness.

Much of the pleasure derived from this delightful comedy penned by William Shakespeare lies in its remarkable intelligence. Indeed, it can be regarded as Shakespeare's smartest love story. Theoretically, the main plot of this play revolves around the thwarted love between Claudio, a young nobleman from Florence, and the beautiful Hero, the daughter of Leonato, the Governor of Messina. However, most readers and theatre-goers are far more likely to focus their attention on the sharp, crackling, and freestyle verbal battles that take place between Leonato's niece, Beatrice, and Benedick, a nobleman from Padua. Their expressed disdain for each other fails to conceal the fact that the two are rapidly and irretrievably falling in love.

As the play commences, Leonato learns from a messenger that he will soon receive a visit from Don Pedro, the Prince of Aragon. The anticipated reunion of long-parted friends and family is an occasion filled with great joy. Beatrice, who is present when this news is delivered, immediately inquires whether Benedick, a friend of the Prince, will also be coming. She takes great care to hide her interest in Benedick behind a mask of disdain, stating that "He is a very valiant trencherman: he hath an excellent stomach." The messenger, seeing only Beatrice's disdain, remarks, "I see, lady, the gentleman is not in your books." Similarly, Benedick, early in the play, invites his friends to scorn him if he can ever be described as "Benedick the married man." It is only as the play progresses that one begins to see just how much Benedick and Beatrice are in each other's books, as they engage in an ongoing verbal battle that is truly "as merry as the day is long."

Against this backdrop, Don Pedro devises a scheme. He says to Leonato and Claudio, "I will tell you my drift." Don Pedro, who has clearly witnessed the proverbial sparks flying between Beatrice and Benedick, sets forth a plan to make them fall in love with one another. Their plan unfolds smoothly. Just as Benedick is lamenting that Claudio, a once-confirmed bachelor who "was wont to speak plain and to the purpose, like an honest man and a soldier," has suddenly become lovesick, he happens to "overhear" his friends discussing how madly Beatrice loves him. The prospect does not displease him as much as he might have anticipated. Meanwhile, Don Pedro pretends to believe that Benedick is forever impervious to Cupid's arrows, stating that "He hath a heart as sound as a bell." Benedick, however, finds himself confessing that "Gallants, I am not as I have been." Hero, on the other hand, provides a similar subversive "service" on behalf of Beatrice, awakening in her a comparable degree of surprise and interest.

Shakespearean humour is often a response to the pain that life can inflict, and Much Ado About Nothing is no exception in this regard. When asked by Don Pedro why she has such a "merry heart," Beatrice remarks that her "merry heart" "keeps on the windy side of care." She seems to sense that her humour sometimes risks going over the top, asking Don Pedro's pardon with a self-dismissive statement that "I was born to speak all mirth and no matter." The pain that life can bring, and against which no amount of mirth can entirely safeguard, becomes more evident later in the play.

In a sense, Don Pedro is unaware of the wisdom in his joking counsel to Hero to "Speak low, if you would speak love." Don Pedro's brother, Don John, a malicious illegitimate brother like Edmund in King Lear, wishes to prevent the marriage of Claudio and Hero. Why does he harbour this desire? For no apparent reason. His is the same kind of "motiveless malignity" that is sometimes said to drive Iago in Othello – a desire to do wrong for the sake of wrong, simply because it will make others as unhappy as he is. In short, Don John is more of a plot device than a fully developed character – in Alfred Hitchcock's terms, the "McGuffin" of Much Ado About Nothing.

Don John's malicious plan involves having his serving-man, Borracho, woo his lover Margaret while she is wearing Hero's clothes. Such a flimsy scheme would seem unlikely to deceive everyone, and yet it succeeds. At the wedding ceremony, Claudio accuses Hero of lascivious behaviour and publicly shames her in front of all the assembled nobility of Messina. It is decided that, in response, the assembled party will spread the word that the disgraced Hero has died of grief, in the hope that Claudio will repent of his cruelty towards her. As the Friar who was to conduct the wedding says to Hero, "Come, lady, die to live. This wedding day/Perhaps is but prolonged." The only question that remains, as far as I am concerned, is why Hero would ever want this spoiled young man back. In my opinion, she is better off without him.

A Shakespearean audience would have expected some "low comedy" to complement the "high comedy" of the witty verbal duels. In Much Ado About Nothing, this "low comedy" is provided through the intercession of Dogberry, a constable who appears incompetent enough to have single-handedly founded the "Keystone Kops" – and yet manages to successfully solve the crime at the heart of the play's plotline. Dogberry, who makes a point of asking his equally inept subordinates, "Are you good men and true?", overhears Borracho boasting about the success of Don John's scheme and immediately arrests him. There is a kind of rough democracy in all of this; the well-educated nobles are completely oblivious to the evil in their midst, while the uneducated country cop detects the crime, apprehends the perpetrators, and restores order. What Dogberry tells one of the watchmen before the arrest of Borracho – "You may say they are not the men you took them for" – turns out to be true of the conspirators. Equally true, in terms of Shakespeare's ongoing theme of the consequences for those who embrace evil, is Dogberry's statement that "they that touch pitch will be defiled."

The budding love between Beatrice and Benedick is another relationship that is threatened by Don John's scheming against Hero and Claudio. Once Beatrice and Benedick have revealed their love for one another, Benedick asks how he can prove his love for Beatrice, and her response is simple and direct: "Kill Claudio." Benedick initially demurs, saying "Not for the wide world," but eventually acquiesces. Witnessing the depth of Beatrice's grief and anger – "O God, that I were a man! I would eat his heart in the marketplace!" – Benedick challenges Claudio to a duel to the death. It takes Claudio some time to realize that Benedick is serious – he attempts to placate Benedick by joking that "What though care killed a cat, thou hast mettle enough in thee to kill care" – but eventually both Claudio and Don Pedro understand that Benedick is "In most profound earnest."

Seeing all of this grief at this stage of the play – Leonato remarks that "there never yet was philosopher/That could endure the toothache patiently" – one might wonder how Shakespeare is able to resolve all of these plotlines comedically in Act V. In accordance with the declaration by Hero's father, Antonio, that an injustice has occurred and that "some of us will smart for it," Don John and his accomplices are indeed held accountable. The marriage of Hero and Claudio is able to proceed. And the relationship between Beatrice and Benedick also moves forward; the two are even caught writing love notes to each other, despite Benedick's insistence that he is no good at the task, as he says, "I was not born under a rhyming planet."

Much Ado About Nothing took on new significance for modern audiences through Kenneth Branagh's 1993 film adaptation. Branagh and his then-wife, Emma Thompson, make an eminently suitable Benedick and Beatrice, and the formidable supporting cast includes Denzel Washington (Don Pedro), Michael Keaton (Dogberry), Keanu Reeves (Don John), and Kate Beckinsale (Hero). Filmed against the lush landscape of Tuscany (in contrast to the play's Sicilian setting), Branagh's motion picture beautifully captures the comic textures of Shakespeare's play. However, having read the play numerous times and having seen it staged in London, I can attest that one need not rely solely on Branagh's excellent film to appreciate this play. Much Ado About Nothing has much to offer to anyone who loves comedy that engages both the mind and the heart.

➳ 3.75 ⋆ ˚｡⋆୨୧˚


This particular Shakespeare play wasn't my absolute favorite. However, I still managed to enjoy it quite a bit and had a great deal of fun getting to know all of the characters. Benedick and Beatrice, in particular, truly reminded me of Elizabeth and Mr. Darcy, just as everyone seems to say. I really loved that aspect.


Overall, it was a good and witty read. The language was engaging, and the plot had its share of twists and turns that kept me interested. I'm now looking forward to delving into more of Shakespeare's work in the future. There's something about his plays that always manages to draw me in and make me appreciate the beauty and complexity of his writing.

Comedy gold is a precious and highly sought-after commodity in the world of entertainment.

It refers to those moments, jokes, or performances that are so hilarious and side-splitting that they can be considered pure comedic gems.

Comedy gold has the power to bring people together, make them forget their troubles, and simply enjoy the moment of laughter.

It can be found in various forms, such as stand-up comedy shows, sitcoms, movies, and even in everyday conversations.

A great comedian is someone who has the ability to mine for comedy gold, to find those unique and unexpected sources of humor that will resonate with the audience.

They use their wit, timing, and delivery to create a comedic experience that is both entertaining and memorable.

Whether it's a clever one-liner, a physical gag, or a satirical take on a current event, comedy gold has the potential to make us laugh until our sides hurt.

So the next time you find yourself doubled over with laughter, remember that you may have just struck comedy gold.

Edit 5/6/12 The perfect song to accompany a reading of this play would be Sigh No More by Mumford & Sons. There are several lyrics that seem to be ripped straight from the text. Not only that, but the themes are also quite similar. It truly makes me extremely happy. :)

There are spoilers here, but this is Shakespeare. No way am I putting up spoiler tags.

According to the note in my copy, in Shakespeare's day, the word "nothing" was pronounced "noting". So, "Much Ado About Noting" implies that noting is synonymous with eavesdropping. This pretty much sums up the essence of this play. People in the story place far too much importance on second-hand information.

There are two (possibly three) main plots. One of them involves a rather complicated marriage between Hero and Claudio. This marriage is nearly ruined by Don John, the somewhat evil villain who tries to distract himself from his own misery by ruining other people's lives. Also featured in the play are the comically inarticulate policemen-types, Dogberry and Verges.

The real center of the story, at least in the public's perception, has always been the love-hate relationship between Beatrice and Benedick. Their journey is one that is seemingly replicated in countless crappy books (both adult and YA) even today. They start off by antagonizing each other, but through extremely contrived and insufficient means, they somehow end up in each other's arms by the end of the play. The biggest difference is that Shakespeare is a master at this, while present-day authors often struggle. It also helps that the silly game of eavesdropping isn't the true reason for Benedick and Beatrice to finally admit their feelings. There are hints that they had a romantic past and probably still have feelings for each other.

Surprisingly, the play is still funny, despite being written hundreds of years ago. I find this quite astonishing, although I'm not sure why, considering this isn't the first Shakespeare play I've read. What really tickled my funny bone was Dogberry's continuous struggle with the English language. For instance, he mixes up "odorous" for "odious", "exclamation" for "acclamation", and "comprehended" for "apprehended".

My absolute favorite part was the very end, when Beatrice and Benedick were in the process of admitting their love for each other. Beatrice was talking, insulting Benedick a little as she usually does, and he simply said: "Peace, I will stop your mouth" and gave her a big, fat kiss. It was absolutely amazing.

Much Ado About Nothing by William Shakespeare is an absolute gem. I've only delved into a few of Shakespeare's works thus far, but I have a strong inkling that this one will be my all-time favorite. I'm completely enamored with the characters, the engaging plot, the witty dialogue, and the fascinating interactions between the characters. Every other Shakespeare play will truly have to go above and beyond to surpass this masterpiece.

Just like in the typical Shakespearean style, it's rather challenging to single out specific highlights of the plot because there's so much happening. Essentially, it's one of his comedies centered around Leonato, a nobleman residing in the idyllic Italian town of Messina. Leonato shares his home with his charming young daughter, Hero, his playful and clever niece, Beatrice, and his elderly brother, Antonio (who is also Beatrice's father). As the play commences, Leonato readies himself to welcome some friends back from war. These friends include Don Pedro, a prince and a close confidant of Leonato, along with two fellow soldiers: Claudio, a highly respected young nobleman, and Benedick, a witty man who constantly peppers his conversations with humorous jests, often at the expense of his friends. Don John, Don Pedro’s illegitimate brother, is also part of the group. Don John is sullen and bitter, always looking to cause trouble for the others. When the soldiers arrive at Leonato’s home, Claudio quickly falls head over heels in love with Hero. Meanwhile, Benedick and Beatrice resume their long-standing war of witty insults. Claudio and Hero pledge their love to each other and decide to get married. To pass the time during the week leading up to the wedding, the lovers and their friends decide to play a game. Their aim is to get Beatrice and Benedick, who are clearly meant for each other, to stop arguing and fall in love. Their tricks prove to be successful, and soon enough, Beatrice and Benedick secretly fall in love with each other. But Don John has other plans and decides to disrupt everyone’s happiness.

Once Don John starts to cause mischief, the group is thrown into turmoil and the characters begin to take sides. At one point, Benedick even challenges Claudio to a duel on behalf of Beatrice. Much chaos ensues, adding to the excitement and drama of the story.

It's a delightfully entertaining tale, filled with the sharp wit and banter between Beatrice and Benedick, who are my favorite characters. As they are being tricked into believing that the other is in love with them, they are still desperately trying to maintain their dignity, and the wit and jibes between them continue to escalate. Their playful exchanges and clever use of words are truly one of the highlights of the play and only get better and better as they each strive to outdo the other.

When reading reviews and plot summaries of this play online, I've unfortunately noticed that one of the absolute best characters often gets overlooked or not even mentioned at all. Dogberry, our chief policeman, is the one who uncovers Don John's evil plot and brings it to Leonato's attention. He is the only middle-class character and constantly tries to use big words to impress the nobles, often with hilarious results. He misuses words or completely uses the wrong word when trying to explain things, which provides much of the humor in the play. We can't help but love him for his endearing qualities. And then, when one of the plaintiffs (he actually means defendant's) calls him an ass, he wants to make sure it goes on record because he's so offended. So he goes around proclaiming, "Let it be known, that I am an ass!" It's simply too funny! He's a fantastic character and, in my opinion, doesn't receive nearly enough recognition. I absolutely adored this play.

The movie I chose to watch was one that I had seen years ago in college and revisited after reading the play. It features many well-known stars, and I think they all do an excellent job, with the exception of Robert Sean Leonard. You might remember him as the kid who committed suicide in Dead Poet's Society. My college professor went on and on about how terrible Keanu Reeves was as Don John, but I actually think he did the role justice. Leonard, however, especially when realizing that he has wronged Hero, does a rather abysmal job of expressing his remorse. Emma Thompson as Beatrice and Kenneth Branagh as Benedick were a brilliant casting choice, as they did an outstanding job. I can't emphasize enough just how much I love the dialogue between these two characters! And an even more brilliant move was casting Michael Keaton as Dogberry! If you were to see only one of Shakespeare's plays made into a movie, this should be the one, if not for Keaton alone. He's fantastic and hilarious! He brings a whole new level of comedy and self-deprecation to the character of Dogberry that no one else could replicate. It's completely wonderful! I can't recommend this play or movie highly enough! Five stars to both! Click here for William Shakespeare Disclaimer