1 day Ago By Sophia Yoerks, Contributing Writer
Mimes and Mummers impressively pulled off an extremely ambitious Shakespeare show, “Much Ado About Nothing,” in only five weeks. The production is a romantic comedy brimming with banter and chemistry. The story is set in Messina, Italy, where Leonata (Courtney Cole, FCRH ’28) lives with his daughter Hero (Emma Sheridan, FCRH ’26) and his niece Beatrice (Emma Carey, FCRH ’28).
The beginning of the play sets up the conflict immediately by announcing the arrival of Leonata’s war friends, Don John (Alex Greenberg, FCRH ’28, who also played Dogberry), Claudio (Ian Montero, FCRH ’28) and Benedick (Greg Dalietos, FCRH ’28). Upon arriving, Claudio immediately falls in love with Hero while Benedick and Beatrice argue with quick-wit and unmistakable tension. When Claudio and Hero are set to marry, everyone else decides to make Benedick and Beatrice fall in love with each other.
Everyone but Don Juan attempts to sabotage the marriage and thus foil the plans to make Benedick and Beatrice fall in love. Although the show had modern twists, the Shakespearean era was dominant on the stage. Shakespeare often reveled in dramatic irony and, at the time, “Much Ado About Nothing” promoted thoughtful insight into relationships and marriage.
Now, this “insight” is more humorous than insightful, which allowed the actors to play around with the script and their diction. Carey began the play. She immediately drew the audience in with Beatrice’s fiery lines and reserved yet confident body language.
Even though this was her first non-musical show, she performed as if she had been on Collin’s Auditorium stage for years. Becoming one with the character being portrayed is a vigorous task. Carey explained the physical portion of her pre-show rituals: “Before shows I personally get into character by making sure I do a good warm up.
This involves warming up my voice and saying some tongue twisters.” Like many Shakespeare shows, the fourth wall was often broken. Some actors walked through the audience to reach the stage and others sat on the edge of the stage.
The surprise might make it seem as if this were improvised, but behind every entrance and exit, there is a technician following the script, cueing actors and other technicians. Every light that changes, scene that shifts and song that plays is often backed by the “okay” of Stage Manager Nora Malone, FCRH ’27, and Assistant Stage Manager Christian Phillips, FCRH ’26. Phillips explained what being an assistant stage manager was like during rehearsal: “During rehearsal, I help get the cast together and make sure to take blocking notes with Nora.
After every rehearsal, I make rehearsal reports by taking notes from all the departments and like what needs to be focused on.” Whenever an actor exits the stage, they are met with technicians and other actors in wait for their cue to re-enter. During the shows, Phillips worked on stage left which allowed him to watch the coming and going of actors and technicians alike.
He explained the mystery of backstage, saying, “It’s so exciting because the actors come off and they’re giddy or they’re nervous, and it’s just so fun to see behind the scenes how they can put on the face of their character one second and then come out of it the next.” Every working piece was originally put together by Director Emilia Lirman and Assistant Director Emily Roca, FCRH ’27. They worked together to reimagine the classic play into two hours and 30 minutes of love, deception and insight with modern music twists.
A Chappell Roan “HOT TO GO”-inspired dance break was even included, which sent gasps and hysterical clapping throughout the crowd. “We wanted to modernize it to link it with all of the modern costumes and the modern set,” said Roca. “So, the instrumental versions were more of a joke and to evade copyright.
” She also said that she thought these versions worked out better for the show, emphasizing its silly and whimsical nature. Roca has previously directed a show for Fordham Experimental Theater playwrights, so directing is not new to her. However, she explained that Mimes and Mummers had more of a professional feeling, even with family-like technicians and actors.
“Assistant directing this show, like any creative position, there were ups and downs,” she said. “Obviously, you have really good days where actors know their lines, cues are listened to, and sound cues are hit. Sometimes lighting cues get missed, and sound cues get missed, and actors sometimes blank.
Yet, no matter what day it is, there is a beautiful kind of chaos, and I love it so much.” Mimes and Mummers was founded in 2004 with the goal of preserving the legacy of one of the oldest collegiate theater companies in the nation. Phillips expressed that if someone is interested in joining Mimes and Mummers, or any other theater production at Fordham, they can just come check it out and get involved.
“There’s such an amazing community within theater and within the mimes, it is just so much fun,” Phillips said. “I just want people to walk away from this show with an appreciation for theater,” Carey added. “Even if you just leave the show happy to have seen it is all that I could ask for.
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