Much Ado About Nothing
28 February 2025
Theatre Royal Drury Lane
5.0 out of 5.0 stars
Jamie Lloyd is at it again, this time with a production of Much Ado About Nothing at the Theatre Royal Drury Lane, running until 5 April. But how does this approach of a comedy hold up to recent rather disappointing productions?
As usual, Lloyd packed the show with star power, casting Tom Hiddleston as Benedick and Hayley Atwell as Beatrice in one of Shakespeare’s most beloved comedies. The starkly black stage is elevated with a plethora of bright pink paper confetti, like a sea of cherry blossoms coating the ground. Other than that, there are few elements to the stage design, a handful of purple plastic chairs being dragged around, a small table, and a giant inflatable heart at the back of the stage. This bare design works incredibly well for a dynamic and energetic production, elevated with modern costume that features a lot of colour and sparkle, contemporary party outfits that contrast while complementing the different characters exceedingly well. Foregoing the microphones almost entirely, there is only one handheld microphone given to Mason Alexander Park, who plays Margaret and leads through the show with strong vocals in a mix of dance anthems reimagined for a bright and lively show that deeply inhabits the dynamic celebratory setting of the story.
From the first moment to the grand finale, this production of Much Ado convinces with contemporary, silly dance routines, gorgeous musical accompaniment, and a hefty dose of comedic talent delivered with perfect timing. From Hiddleston’s pompous Benedick full of swagger to Atwell’s ferocious Beatrice dripping acid, there is so much life and physicality in this spirited performance.
There are still elements of talking towards the audience, but this time delivered in a charming, conspiratorial way. Characters confiding in and seeking approval from the audience, highly engaging and hilariously playful. Peppered with pounding dance music beats, it’s a gleefully modern staging that uses intonation and audience interaction to deepen the understanding of the lines and plot, holding the audience’s attention with every beat.
While there are very little costume changes, the animal head masks used in the masked party scene are delightfully adorable, a brilliant feat of costuming that elevates the show, meshing extremely well with the physical comedy added throughout. The incredibly strong cast leads masterfully through the plot, reaching its pinnacle in the aforementioned party scene where things turn up even further into the stupidly hilarious.
This production of Much Ado About Nothing is a master-stroke of modernising Shakespeare without taking any of its impact or meaning away. Lloyd has once again found his stride in this brilliantly sparkling, life-affirming staging. A full-body experience that must be seen to be believed!
