★★★½

“a refreshingly funny and modern production”

Much Ado About Nothing is generally considered one of Shakespeare’s best comedies, because it combines elements of robust hilarity with more serious meditations on honour, shame and court politics. In this fun production at the Royal Shakespeare Theatre under the skilful direction of Michael Longhurst (former Artistic Director of the Donmar Warehouse and his RSC directing debut) we see the scandal and glamour of international football as a backdrop to this popular rom-com play, exploring the culture of lads, wags and misogyny.

Messina FC has just won the European Cup for the first time and as we enter the auditorium, Jon Bausor’s cleverly designed thrust stage and 3D football stadium immediately immerses us into the world of social media, sponsorship and branding. Team manager Don Pedro (Olivier Huband), along with his captain, Benedick (yes one of a few amusing changes to the original) and their new star player Claudio (Daniel Adeosun making his RSC debut) are invited to take some well-deserved R&R at a villa belonging to Leonato, (an excellent Peter Forbes) owner of their team and his wife Antonia (a feisty Tanya Franks).

Claudio immediately falls in love with their daughter Hero, and everything is set for the wedding of the year. Beatrice – a sports broadcaster – and Benedick both claim to despise the whole notion of love and marriage, but the others plot to make them fall in love. However, Don John, the manager’s brother has a more malicious plot in mind. He tricks Claudio into believing he saw Hero in a compromising situation on the night before their wedding…

For many, the football stadium is still seen as a male space, so misogyny is set up right from the start. The clever use of interactive social media and the ‘deep fake’ pictures of Hero (Eleanor Worthington-Cox, who has a cracking singing voice) would provoke a modern and relatable sense of anger at her betrayal. This was a fascinating and exciting idea and I was eager to see how it would pan out, but even though there were some clever adjustments to the text and some very funny scenes – especially Leonato’s video call – I felt slightly disappointed at the end of the first act. It felt like the dramatic content had been compromised by its own concept. It was hard to believe that Hero was really that innocent, which meant her cancel culture didn’t have as much emotional weight, especially as she and Claudio seemed to provide the main impetus for the plot out of the two romantic couples, whilst Benedick and Beatrice were the foil and dramatic sub plot. However, the play gathered momentum when Benedick (an exceptional Nick Blood) thoroughly amused us with his slapstick humour, whilst maintaining an endearing vulnerability as he was being tricked by his team mates into falling in love with Beatrice (Freema Agyeman).

It seemed like a play of two halves with the second act being far more relatable, zipping along in its contemporary setting like a well oiled machine. Beatrice’s emotional declaration of love for Benedick was quite heart stopping, before she countered the mood with her witty delivery. One of the highlights of this enjoyable production was the hilarious head of security Dogberry (Antonio Margo) whose comic timing and malapropisms were a masterclass in comedy.

This is a refreshingly funny and modern production of Much Ado About Nothing and worthy of being in the premier league.

MUCH ADO ABOUT NOTHING at The Red Lion, SW13

★★★★

“Nicky Diss directs but it feels collaborative and all encompassing”

Coming away from one of Open Bar Theatre’s shows, you can’t suppress the feel-good spring in your step. Nor can the English drizzle dampen your spirits. Clouds, heavy with the first hints of autumn, hang in the air. But so do festoons and lanterns, and the feeling of a summer festival clings to us like the pac-o-macs given out on entry. The audience resembles an end-of-pier coach party, except for the facial expressions. Creased frowns of stoical determination to have a good time are replaced by lines of laughter and joy.

The idea is deceptively simple, and over four hundred years old: Shakespeare can be enjoyed by everyone. ‘Open Bar Theatre’ founders, Nicky Diss and Vicky Gaskin, grasped this concept nearly a decade ago by taking the plays around pub gardens. Their reputation and audiences have been steadily growing until this year they received an Offie’s Special Producing Award. They present theatre how it was originally performed. How Shakespeare should be performed. I’m sure Will would be raising a flagon of ale in celebration of their take on “Much Ado About Nothing”.

It’s a gruelling summer schedule and the six performers work hard, but even at the tail end of this season it doesn’t show. They are having as good a time as us. Playing multiple roles (and a lot of ukuleles) they remain ever faithful to the text but with wonderfully crafted contemporary gestures and ad libs thrown in. References are changed and modernised. Even, at one point, Benedick (Thomas Judd) chastises Shakespeare for not anticipating that his language may feel a touch antiquated four centuries into the future. I mean – come on Will… think ahead!

Set in Messina, the play centres on two couples: Claudio and Hero, and Benedick and Beatrice. An early forerunner to the will-they-won’t-they scenario the play’s comedy stems from secrets and lies and trickery and deception. Benedick and Beatrice are tricked into confessing their love for each other while Claudio is tricked into believing Hero is untrue, two-faced and two-timing. Subplots and wordplay add to the farce, fleshing out the intrigue and the action. Of course, it is all resolved by curtain call, but in the meantime the actors push the comedy to the fore with an ease that keeps our attention throughout, even when wandering to the bar for a top up.

Thomas Judd and Elizabeth Peace, as Benedick and Beatrice, spar mischievously as the bickering pair. From the off, their sharp and cutting dialogue manages to betray the masked affection they have for each other. Peace pitches the delivery just right, empowering herself while still keeping a sense of irony. Doubling up as the villainous Don John, she convincingly switches mood as swiftly as her costume. Judd is a natural performer; quick-witted and with a touch of the MC about him, treating the audience like another member of the cast. On which note, beware! You may be press ganged into becoming a temporary member of the company.

Laura Harling shares Judd’s instinctive, easy rapport with a crowd. A chameleon, she switches from the vibrant and fun-loving Leonato to the suggestive and subversive Margaret, sharing all the jokes with us like we’re old-time drinking partners. Laura Cooper-Jones has a similar, commanding, bon-viveur attitude as Don Pedro. Paula Gilmour’s Hero comes with a subtle touch of shyness. One of the more difficult roles to play, Gilmour manages to give real personality to a woman too often defined by the men that surround her. All the while, Micah Loubon is having fun as her suitor, the fickle and gullible Claudio.

Nicky Diss directs but it feels collaborative and all encompassing. Shakespeare virgins will enjoy this as much as Shakespeare aficionados. Open Bar’s gift is that they brush away any preconceptions some people may have. And what better way to experience it than in a pub garden with a pint of real ale. Just as it should be. Cheers!

Tag Archives: Much Ado about Nothing

MUCH ADO ABOUT NOTHING

★★★½

Royal Shakespeare Theatre

MUCH ADO ABOUT NOTHING

Royal Shakespeare Theatre

★★★½

“a refreshingly funny and modern production”