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MUCH ADO ABOUT NOTHING

★★★½

Royal Shakespeare Theatre

MUCH ADO ABOUT NOTHING

Royal Shakespeare Theatre

★★★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

Royal Shakespeare Theatre

Reviewed on 22nd April 2025

by Sarah Milton

Photography by Marc Brenner

 

 


 

 

 

More ‘Much Ado About Nothing’ reviews:

MUCH ADO ABOUT NOTHING | ★★★★ | THE RED LION | September 2024
MUCH ADO ABOUT NOTHING | ★★★★ | WATERMILL THEATRE NEWBURY | April 2024
SH!T-FACED SHAKESPEARE®: MUCH ADO ABOUT NOTHING | ★★★★★ | LEICESTER SQUARE THEATRE | July 2023
MUCH ADO ABOUT NOTHING | ★★★★ | DUKE OF YORK’S THEATRE | February 2023
MUCH ADO ABOUT NOTHING | ★★★ | JACK STUDIO THEATRE | August 2022

MUCH ADO ABOUT NOTHING

MUCH ADO ABOUT NOTHING

MUCH ADO ABOUT NOTHING

PINOCCHIO

★★★★

Theatre Royal Stratford East

PINOCCHIO at the Theatre Royal Stratford East

★★★★

“an eye-popping, feel-good extravaganza”

Theatre Royal Stratford East leads its audience on a magical mystery tour with its vibrant retelling of the Pinocchio story, blessed with neon colours, funky beats – and a fairy to die for.

Sizzling with energy and dressed like an atompunk seaside arcade, this classic tale of the wooden puppet who wants to be a real boy has zip and a dazzling bubblegum aesthetic thanks to set and costume designer Stewart J Charlesworth, who deserves to take the applause alongside the admirable cast.

The story, under the direction of Omar F Okai, draws directly from Italian writer Carlo Collodi’s 1883 classic.

Pinocchio, a mischievous wooden puppet carved by the kind-hearted Geppetto, comes to life. He is impulsive and rebellious, leading him into a series of misadventures. He runs away, skipping school to attend a puppet show. He is soon swindled by the deceitful Sly Fox and Miss Cat, who convince him to gamble away his money.

He joins a group of troublemakers who take him to Playland where he is transformed into a donkey and sold to a circus. After a series of humiliations, Pinocchio is thrown into the sea and swallowed by a shark. Who Pinocchio meets inside the shark finally persuades the puppet to change his ways.

Playland, a chicken farm, a shark’s belly, a workshop, a dark circus – what a confection of opportunities for set design, lighting, choreography and fun.

Everything relies on the winning power and prowess of Pinocchio and Dylan Collymore delivers, with disco moves, soulful tones and a cheeky presence. The music, courtesy of Trish Cooke and Robert Hyman, calls on an eclectic range of global styles and puts everyone through their paces.

The cast is gleeful and charming. Special mention to crowd pleasers Nicole Louise Lewis as Krik Krak (“I say Krik, you say Krak”) and jolly jack of all trades Tok Morakinyo who turns up all over the place in different guises.

Saving the best till last though, cutting through the sugar-rush flim-flam is veteran Michael Bertenshaw as the Blue Rinse Fairy who has sharpened his vaudeville stylings and dry badinage into a formidable comic weapon. With his sardonic eye rolls and wry world weariness, his exasperation might go over the heads of the little ones, but he speaks directly to the grown-ups.

While the exuberant cast sweat buckets in elaborate street-smart dance routines, laconic Bertenshaw merely needs to deadpan to the stalls to have us all in hysterics.

Minor quibbles: the story is picaresque and episodic so it’s easy to lose track of progress; and the evil pair of Fox and Cat could indulge in more obvious crowd-riling villainy – giving everyone more opportunities to boo. Still, the dance numbers landed, the storytelling was upbeat, and everyone left the theatre cheerfully singing a refrain about believing in themselves. Job done.

What an eye-popping, feel-good extravaganza.


PINOCCHIO at the Theatre Royal Stratford East

Reviewed on 30th November 2024

by Giles Broadbent

Photography by Craig Fuller

 

 

 

 

 

 

 

Previously reviewed at this venue:

WONDER BOY | ★★★★ | October 2024
ABIGAIL’S PARTY | ★★★★ | September 2024
NOW, I SEE | ★★★★ | May 2024
CHEEKY LITTLE BROWN | ★★★½ | April 2024
THE BIG LIFE | ★★★★★ | February 2024
BEAUTIFUL THING | ★★★★★ | September 2023

PINOCCHIO

PINOCCHIO

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