There this moment in
Much Ado About Nothing where the happy
romantic comedy turns on its head, becoming something incredibly dark.
Claudio throws Hero to the ground and accuses her of lies and harlotry
and nothing can be the same. Sides are taken. Words are unleashed that
cannot be retained. It’s awful and everything after it is colored by it.
It gives the play these massive stakes, but at a cost to Shakespeare’s
resplendent farce.
More than one director has tasked himself with handling that shift in
tone gracefully, but most tend to sort of gloss over it, mining the
moment for its darkness and then swiftly moving back to the happy fun
times and blissfully ignoring the tragedy that gives the play its
stakes.
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