William Shakespeare’s Much Ado About Nothing” is a tale of love, deception, and redemption. The story has a perfect ending after encountering a “stigmatization” of Hero. In the end, Hero and Claudio get married and Beatrice and Benedick finally admit their love to each other. Apart from the main plot, the evolution of minor characters also leaves a lasting impression on readers. Margaret and Borachio are two examples of these kinds of characters. Throughout the play, they undergo significant changes in their perspectives and actions. Margaret changes from a devoted friend to Hero to someone who seemingly cares about nothing. On the other hand, Borachio shifts from a villain who engages in deceitful acts to a person who can admit to his guilt directly and seek redemption. 

In the early acts of this play, Margaret is portrayed not only as a maid but also as a devoted friend of Hero. She assists Hero by purposefully letting Beatrice know that Benedick still loves her during the talk. As a friend, she also tells jokes with Hero to make her happy. The intention behind the joke can be understood, even though some of them are crude, for instance, “'Twill be heavier soon by the weight of a man.” (3.iv.37) The stagecraft during this scene could be cool-toned lighting to create a sense of nervousness. Since Hero is about to attend the first wedding of her life as a bride, these jokes will help ease her nerves. With these teasing jokes, it is logical to believe that Margaret is a caring friend to Hero. However, Margaret’s character takes a drastic turn after Hero’s “death” at the wedding. Margaret doesn’t appear to care what happened to Hero at all when she is investigated because she accidentally helped slander Hero even though it was not her intention. Even so, she enjoys herself with Benedick, teasing him with lines such as, "Will you then write me a sonnet in praise of my beauty?" (5.ii.3).  The stagecraft during this scene could enhance Margaret's transformation by using warm colors. Her attitude and joyful scenes reveal her ruthlessness to Hero. It appears that the maid and master are the only relationships they have. In contrast, when Beatrice, who is also Hero’s friend, notices the death of Hero, she cries, “Dead I think, help, uncle! Hero, why Hero: uncle: Signor Benedick: friar!” (4.i.106-107). Beatrice asked for help from Lenato and Benedick. Hero is friends with both Beatrice and Margaret, yet their actions couldn't be more different. One is trying to save her friend, and the other acts indifferently. This moment could amplify the contrast between the earlier joyful scenes and the current melancholy atmosphere, which emphasizes Margaret’s transformation. 

The other character Borachio begins the play with deceitful actions which contribute to the chaotic scene that happens at the wedding of Hero and Claudio. To express his loyalty to his master Don John, Borachio said “To the death, my lord.” (1.iii.51) , meaning that he will follow Don John to death. Therefore, Borachio came up with a plan to destroy the wedding, “The poison of that lies in you to temper; go you to the prince your brother, spare not to tell him, that he hath wronged his honour in marrying the renowned Claudio, whose estimation do you mightily hold up, to a contaminated stale, such a one as Hero.” (2.ii.17-20) The setting here is crucial, it takes place in the shadows and secrecy, symbolizing the underhanded nature of Borachio’s initial mindset. The recipient of this quote adds complexity to the plot connecting Borachio to a broader theme of deception. However, as the play progresses, Borachio undergoes a profound change of heart. After being captured, Borachio honestly admits what he did, “My villainy they have upon record, which I had rather seal with my death, than repeat over to my shame:” (5,i,210-213) The context of this quote shows the self-awareness and remorse Borachio has. He understands what he did is morally wrong, and to prove his determination he used his life for redemption. The stagecraft during this moment could be solitary or dim lights, which could underscore the gravity of his realization. Borachio’s change from malicious intent to repentance proves a clear contrast. 

The transformative journeys of Margaret and Borachio in "Much Ado About Nothing" contribute significantly to the play's exploration of human nature and morality. Margaret shifts from a devoted friend to a seemingly indifferent observer and Borachio changes from deceit to redemption. All these changes demonstrate Shakespeare’s delicate portrayal of character development. Margaret’s change reflects the theme of betrayal. Borachio’s redemption adds another dimension of moral complexity to the narrative. Despite their tiny roles, these two characters contribute greatly to the play's overall plot and exhibit the richness of Shakespeare's storytelling.