Much Ado About Nothing at Shakespeare’s Globe may not be the most subversive take on the Bard’s work but it’s very fun and will leave you with a smile on your face.
Spring is most definitely here and nothing says that summer is rapidly approaching than a trip to the wonderful outdoor South Bank theatre that is the Globe.
Their latest production to launch their summer season, Much Ado About Nothing, perfectly embodies that feeling. The weather is getting better, and things are looking up.
The play, a classic Shakespearean comedy, plays it very straight, not offering much in the way of the modern twist that other recent plays have offered.
Instead, we’re treated to two and a half hours of simple Shakespearean fun, with the cast delivering big, bold soliloquies and traditional verbal sparring.
The staging, music and delivery all feel very similar to how they might have 400 years ago when the play first debuted, but is no worse for that.
The plot, such as it is, sees a return to Messina from a victorious war for the charismatic Don Pedro (Ryan Donaldson) accompanied by Claudio (Adam Wadsworth) and Benedick (Ekow Quartey).
Claudio immediately falls in love with Hero (Lydia Fleming), the daughter of local count Leonato (John Lightbody) but is too shy to woo her himself, while Benedick is steadfastly, definitely not in love with Hero’s brash and brazen cousin Beatrice (Amalia Vitale).
Since this is a comedy you can largely guess what happens next.
There’s a masked ball, jokes about Benedick’s name, and some moustache twirling courtesy of a villain so obvious he’s the illegitimate brother of Don Pedro and has a suitable nickname.
The core of the story is about jealousy and how things aren’t always what they appear, but again, it’s a comedy, so the audience never feels out of the loop and there’s always a nudge and a wink that keeps you from ever feeling lost or even that there’s too much at play in terms of stakes.
The standouts in the cast are Quartey and Vitale, who absolutely shine as Benedick and Beatrice, albeit they get most of the best comedic moments.
Their effortless chemistry is the hinge on which large chunks of the play pivot and fortunately they bounce off each other with genuine energy.
Lightbody is the clear dramatic highlight of the play, particularly in the third act, even if he does feel at times like he’s acting in a different production to everyone else.
He does impressive work, but it feels like the stakes are so diluted that it’s hard to really invest in his performance.
The other highlight to mention is the costuming, which elevates the whole production, particularly during the aforementioned masked ball.
Overall, I personally prefer my Shakespeare a little more subversive, but Much Ado About Nothing is solid, played straight Shakespearean fun and a great way to kick off the summer.
Much Ado About Nothing runs until 24 August and you can book tickets here.
Images credited to Marc Brenner
