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

★★★★

“Hytner’s direction moves the action at a pace yet there is still time for reflection, and moments of humour too”

‘The Life and Death of King Richard II’, later shortened to “Richard II” is categorised as one of Shakespeare’s History Plays. Even though another early title reads ‘The Tragedie of King Richard the Second’. Tragedy or history, though, it bursts onto the stage as a modern-day thriller with Nicholas Hytner’s stirring interpretation. The story of a man whose symbol of power is of more concern to him than his duties has a chilling resonance today. Jonathan Bailey’s unpredictable ruler, however, is an eccentric soul, with a degree of vulnerability that draws our sympathy (so any comparisons to a contemporary world leader that might spring to mind are soon quashed).

Probably best known for his role in ‘Bridgerton’, Bailey returns to his theatrical roots, stepping into the role that follows some pretty impressive footsteps; John Gielgud, Paul Schofield, Ian McKellen, Timothy West, Derek Jacobi, Fiona Shaw, Eddie Redmayne, Mark Rylance, Ben Wishaw, Simon Russel Beale, David Tennant… Many a fine pair of shoes to fill, but Bailey slips into the role with ease.

Chronicling the monarch’s downfall, and the intrigues of his nobles – most notably Henry Bullingbrook (later King Henry IV) – the play spans the last two years of Richard’s life. The set is sparse, stark and by default unsettling and menacing – with the unpredictable air of a disused warehouse. We seem to be in a Netflix gangster land. Grant Olding’s sweeping music score sets the scenes, aided by Bruno Poet’s atmospheric lighting. Chandeliers dangle while minimal set pieces rise from the depths, around which men in black lead the dance with a swagger that ultimately trips and falls into tragedy, mourning and a kind of forgiveness.

Hytner’s direction moves the action at a pace yet there is still time for reflection, and moments of humour too. An overuse of dry ice hammers home the film-noir flavour, but otherwise everything is perfectly balanced. Violence gives way to psychological intrigue while the battlefields migrate into the courtroom. Bailey’s performance is undoubtedly the shining light, yet he casts no shadow over the supporting cast who all command the stage in their own way. Royce Pierreson’s Bullingbrook is a tour de force as he struggles to reconcile his need to usurp the throne with his reluctant empathy for a failing king. The first act ends with the two pitching against each other, Bullingbrook armed with a massive cannon while Richard watches from the gallery, dressed in white. The second act ends incredibly poignantly as Bullingbrook gains little comfort from his victory while Richard’s body lies on a hospital gurney, now in black.

In a play where ally can become traitor, and vice versa, at the drop of a hat, the entire cast showers clarity onto Shakespeare’s verse, coupled with powerful emotion. Martin Carroll, who has stepped into the role, gives a wonderful poignancy to John of Gaunt who is desperate for his dying words not to be spoken in vain. But in true Shakespearian fashion, little can be done to halt the wheels of tragedy’s course. And the beauty of the staging leads to us, the audience, being made to feel somehow complicit in the action. Almost traitorous ourselves. It is an enthralling production that closes with an emotional power. A quiet, yet poignant punch, that leaves us quite breathless.

Tag Archives: Shakespeare

MUCH ADO ABOUT NOTHING

★★★½

Royal Shakespeare Theatre

MUCH ADO ABOUT NOTHING

Royal Shakespeare Theatre

★★★½

“a refreshingly funny and modern production”