Review: Much Ado About Nothing (Shakespeare’s Globe)

Review by Ruth Sealey

⭐️⭐️⭐️⭐️⭐️

The Globe Theatre on a beautiful summer evening could hardly be a more perfect venue to settle in to watch a retelling of Shakespeare’s Much Ado About Nothing. The Globe continues to create productions that draw audiences into its unique theatre-in-the-round, with trademark audience interaction and high-quality performances. This tale is often described as a comedy, but with themes of deception, honour and false accusation, it carries a darker edge. More than 400 years after it was written, would this production strike a balance between comedy and its more serious moments?  

Trying to summarise any of Shakespeare’s plays can be a real challenge, and Much Ado About Nothing is no exception, with misunderstanding and trickery woven throughout the action.  Don Pedro, Prince of Aragon, returns from war with his followers: his illegitimate brother, Don John, along with Claudio and Benedick.  Upon their return, love quickly takes hold. Claudio declares his love for Hero, the daughter of Leonato, Governor of Messina, while Benedick, until now sworn to be a bachelor, becomes entangled in a battle of words and love with Beatrice, Leonato’s niece.  What follows is a tale of deceit and power, as Claudio falls for the tricks and lies told to him and Hero fights to clear her name.

Director Chelsea Walker has created something of magic here at the Globe, with a glorious production that simmers with humour, carefully held in check by the darker edge of the deception that swirls beneath the surface. Rarely does a production inspire such investment in the characters and the story; at times, it feels like being a guest at a friend’s wedding as the audience responds and interacts with the cast. The visceral response that greets Don John’s appearance at the end of the play, bound and bloodied after his capture, is a testament to how completely the audience is drawn into the narrative.

The comedy is expertly choreographed yet never feels forced, and Walker makes the absolute most of having the audience in the round. The Globe is well known for embracing audience reaction, and this cast, guided by Walker, have perfected the art. Much of the play relies on overheard conversation, and the cast weave seamlessly amongst the crowd. At times, I found myself feeling as if I too was listening to a conversation that was not meant for my ears. 

The design from Sami Fendall supports every element of this production. The stage is expansive, and the thrust element creates even more space for action, and the design, combined with Walker’s direction, makes perfect use of every inch of the stage. The set is deceptively simple, with a pair of staircases descending from a balcony and additional pillars positioned at the rear. It provides the perfect setting for overheard conversation, deception and moments of comedy. For the wedding scene, the pillars are transformed with hanging baskets, which become the focus for one of the funniest moments in the production, as Margaret, the maid, tends to the plants. The audience erupts with laughter, and the physical comedy, expertly directed and brilliantly executed by the cast, is a particular highlight.

Matilda Bailes plays the maid Margaret with an endearing, mischievous charm as she becomes involved in some of the production’s most hilarious comic moments, which she performs with playful energy. However, she shows her versatility, as her gradual realisation that she has become embroiled in the deception is delivered with subtle control at the rear of the stage.

Making her professional debut, Assa Kanouté captures Hero’s innocence and defiance in a beautifully nuanced performance. Joshua John’s Claudio is on an emotional journey throughout the evening, with his moment to truly shine arriving at Hero’s ‘funeral’, where, in keeping with the tone of the production, he delivers an intense physical response to her supposed death.

The darker elements are portrayed through Joseph Potter’s Don John, who colludes with Borachio, played by Marlowe Chan-Reeves, to bring about the downfall of Hero. They become an unlikeable pair, a feeling that is clearly reflected in the audience’s reaction, and together they drive the deception with a sense of relish.  In stark contrast to the seriousness here is the arrival of Dogberry, played extraordinarily well by Richard Katz and his partner Verges, played by Os Leanse. The movement and interaction between this pair are hilarious and generate some of the greatest laughs of the evening.

However, it is Pippa Nixon who is simply stunning as Beatrice, and who is the standout in this company. She rails against marriage and against men, and Nixon captures her wit perfectly in every moment she is on stage. She moves effortlessly from comedy to heartbreak and from light-hearted energy to moments of real intensity with ease.  Nixon’s performance is complemented by an outstanding performance from Ken Nwosu, who portrays Benedick with a dynamic physical presence. Together they create perfect comedy timing and partnership, and their journey from dislike to love is a journey that the audience becomes totally invested in.

The animal head masks, made by Richard Allsopp and Associates, are a striking visual feature that must be mentioned. They reflect the animalistic instincts within human nature and the character traits in a perfect combination. They are visually beautiful - matching Don John to a snake, Don Pedro to a lion and seeing the wolf, initially Claudio, in pursuit of the sheep, Hero, is an inspired directorial choice and adds another level to the themes of deception, power and pursuit.

Tying the elements of the production together is the live band, with music composed by Angus MacRae. The musicians have their moment to shine in interactions with the cast, which again fits perfectly with the playful tone of the production. The musicians are integrated into the action on stage, and the music shifts from playful to mournful and ominous, before ending in a celebratory style that supports the overall atmosphere of the production.

This is a sublime production of Much Ado About Nothing that captures the hearts and minds of its audience. The comedy is directed and delivered skillfully, and the darker moments are touched with thought and detail. It blends excellent design elements and staging with fantastic performances that elevate the play throughout. As the cast returned to the stage for a third bow last night, and the audience stayed on their feet long after they had left the stage, it was clear that this is a production well worth seeing.

Much Ado About Nothing plays at Shakespeare’s Globe until 24^th October. Tickets from https://www.shakespearesglobe.com/whats-on/much-ado-about-nothing/

Photos by Marc Brenner