With loose, romantic costumes and a lush, idyllic set that evokes the rolling Mediterranean countryside, Johnna Wright’s Much Ado About Nothing is an invitation to step back in time—and one of the ways it does that is through music.
From the songs sung on stage to the classical guitar riffs that move the play from scene to scene, Much Ado About Nothing immerses you in the world of Messina through its rich and vibrant sound design. To learn more, we spoke with Sound Designer Mishelle Cuttler about her musical inspirations and what it was like to work with Johnna on this production.
Can you tell us a little about yourself and what first drew you to this line of work?
I was always interested in both music and theatre. I trained in classical piano from childhood until I went to university and then shifted my focus to performing as an actor. Once I entered the professional community, I was given some amazing opportunities to write music for the stage, and something clicked for me—I love seeing how music and storytelling can inform each other.
How did you approach the sound design in Much Ado About Nothing?
Because this production is so true to the period and location, I had a great starting point in terms of figuring out the sound of the show. Johnna and I talked about how the sound of a classical guitar was really important to creating the world, and that became a throughline for the whole play.
As part of the sound design, you had the chance to do some live recording sessions. Can you tell us more about what went into that process, and why it was so important in bringing the world of Much Ado About Nothing to life?
Once we settled on the motif of a guitar to take us through scene transitions, I began seeking out a musician who could play for us. When I came across Michael Kolk it was clear that he was perfect for this project. Johnna and I got together with Michael in his home studio and he recorded dozens of small musical moments and stings for us to have as a palette for the show. Once we got into rehearsal, I had the luxury of being able to pull from our stock of guitar recordings to find the perfect riff for each moment. I also had the pleasure of working with Molly MacKinnon—a violinist and frequent collaborator of mine. She helped us complete the musical world by recording some violin that is featured in the second act of the show.
Much Ado About Nothing also marks your fifth Season at Bard! Is there a moment or memory that stands out to you from this process or from your past years with the Festival?
I grew up in Vancouver and attended Young Shakespeareans [now Bard Summer Camps] as a teen, so working as a professional in the company is always really special. Lysistrata in 2017 was my first big contract after returning to Vancouver from graduate school, and I played piano onstage in that show. I remember walking on that stage when we opened and feeling in awe of how excited my childhood self would have been to know this would happen.
Mishelle on site this Season.
As someone who has been working professionally for the last fourteen years now, have there been any artists or musicians that have been particularly influential to you and your artistic practice?
My musical influences are kind of a mishmash, which is probably due to the fact that my job takes me in so many different stylistic directions. My Spotify Wrapped is a disaster because of all the research listening I do throughout the year. Early in my career I got to do a lot of gritty, cabaret-inspired shows with music heavily influenced by Kurt Weill and Tom Waits. I love that world and it can be a real heartbeat in much of my music. But I’m also an elder millennial so I know the lyrics to every song in Jagged Little Pill and unironically appreciate Smash Mouth. I have had the immense privilege of learning from many sound designers and composers working in this community, and every project I do gives me something new to take forward to the next.
When you aren’t working as a designer and composer, how do you like to spend your time?
My partner has recently become obsessed with birdwatching (something that I think just happens when you turn 35) and I am loving strolling around parks and looking at birds. That, and 90 Day Fiance.
Thank you to Mishelle for taking the time to share her insights on the sound design of Much Ado About Nothing!
Let the music sweep you away to the rich and romantic world of Messina! Much Ado About Nothing runs now to September 20, 2025 on the BMO Mainstage. Tickets start at $35!