In Shakespeare’s day, “nothing” was a double entendre, and a sexual one at that. And “noting” was a sexual innuendo, not to mention a pun on “nothing.”
So when the Bard titled his comedy “Much Ado About Nothing,” the man was joking about sex. The sexiness moves front and center in Joss Whedon’s black-and-white production of “Much Ado,” a winking comedy with dark underpinnings and some of Shakespeare’s most wicked wordplay.
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