Shakespeare’s works are often classified as one of three different genres: tragedy, comedy, or history. However, almost none of his plays actually fit completely into one of those characterizations. People continue to produce Shakespeare’s plays because many see his plots and characters as relatable, mostly based on the fact that nothing ever goes quite perfectly. Loved ones die, villains succeed, and even the happy endings are not always tied up nicely with a bow. 

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Much Ado About Nothing falls more distinctly in the comedy category, for, although there is some tragedy mixed in, all Shakespearean comedies have similar patterns that signal to the audience what type of story they are witnessing. One common element is dramatic irony, usually involving deception or misunderstandings. During Shakespeare’s time, Much Ado About Nothing could also have been written or recited as Much Ado About *Noting − a very apt title for a play where everyone eavesdrops and no one asks for the truth. The audience sit and watch as Benedick and Beatrice get duped into falling in love with each other, even though we know they have really been in love since the beginning of the play. Much Ado also contains a clown, which is a tradition both in Shakespeare’s comedies and tragedies. Dogberry and his watchmen provide excellent entertainment, yet very little in intelligent protection for the town. And, as is the signal of a true comedy, the whole affair ends with not one but two weddings. 

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Throughout Much Ado About Nothing, a vengeful brother proceeds with a plot that ruins a family’s reputation and interrupts the audience’s sense of lightheartedness. When the events turn serious, the only one laughing is Don John. However, love can always be found, even in the darkest of times, at least on stage. And because of this dramatic assumption, even through the difficult moments, the audience knows that all will end well, for this indeed was all just much ado about nothing.