Review: MUCH ADO ABOUT NOTHING, Shakespeare's Globe

Matthew Dunster brings some desert sun to a so far patchy summer, with his Mexican-inspired production of Much Ado About Nothing. It truly is the beating heart of the Summer of Love, running until the end of the season alongside first Twelfth Night, then King Lear and Boudica.

Monterrey, 1914. The Mexican Revolution is getting into full swing, but as Don Pedro returns victorious with Claudio, Benedick and his sister Juana, their thoughts turn to matters of the heart. Claudio gets engaged to Hero, Leonato's daughter, and everyone is so convinced that Benedick and Beatrice (Hero's cousin) love each other they conspire to bring them together, and end their battle of wits. Jealous of her brother's success, Juana devises a more wicked plot that leaves Hero's honour, and her wedding, in doubt. With a backdrop of such a bloody nature, will love conquer all?

Given President Trump's widely publicised animosity towards Mexico (I think we've all heard about that proposed wall), it feels rather apt to set this famous play there - and with the backdrop of a very real conflict. It feels like a very natural fit, and is still largely faithful to the original. The choice to give Don Pedro a sister rather than an illegitimate brother is far more relevant to modern audiences, and raises questions about the characters - such as whether Pedro is favoured because he is the older sibling, or simply because he's male. An inadvertently topical point!

The entire production has a celebratory feel to it, shining a light on Mexico's rich culture. Anna Fleischle's set design makes thoughtful use of the Globe space, with a wooden train carriage at the back of the stage, and the two pillars converted into a shrine and bench, respectively. There's also a small pedestal in the middle of the yard that is used with care - and to great effect in the funeral procession in the second act.

Putting some of the actors on stilts and giving them metal frames of horses' heads is a clever way of allowing the soldiers to make more of an entrance, without having to use the real thing. The design is elegant, slightly reminiscent of War Horse but more stripped down.

James Maloney's compositions ensure the Mexican flavour is ever present, as well as providing some memorable moments in both acts. Combined with Charlotte Broom's choreography, the audience is treated to a real fiesta.

It is heartening to see such a diverse and strong ensemble brought together on such a stage as this. Ewan Wardrop gives a fine supporting performance, injecting some slapstick comedy as the American filmmaker Dog Berry. Sarah Seggari is a fitting companion as Verges, as well as a bawdy (then repentant) Margaret. Though they're a couple almost from the very start, Claudio and Hero are often overshadowed by the central love story of Beatrice and Benedick. Not so in this production, with Marcello Cruz and Anya Chalotra giving the characters real fire and making you care about their fate.

Following a villainous turn as Iachimo in last year's Imogen, Matthew Needham returns to the Globe as Benedick - a role that seems to have been made for him. Needham is fully committed to every aspect of his character, from the verbal sparring, to the attempt at poetry (can anyone else think of a rhyme for "señorita"?) and the physical comedy.

Equally, Beatriz Romilly couldn't be more perfect as Beatrice, full to the brim with spirit and blessed with excellent comic timing. Undoubtedly, the highlight of the whole show is where each overhears that the other is in love with them; it is hilarious trying to work out where they will appear from next, and their reactions are classic comedy.

Dunster and his team have created theatre magic with this production. They have struck a fine balance in order to suit all manner of visitor; it's accessible enough for newcomers, whilst retaining enough of the original to satisfy the more traditional crowd. Be prepared to fall horribly in love with it.

Much Ado About Nothing is at Shakespeare's Globe until 15 October

Picture credit: Tristram Kenton

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