Review: MUCH ADO ABOUT NOTHING, Shakespeare's Globe

Much Ado About Nothing, one of Shakespeare’s most performed plays, returns to the Wooden O’, kickstarting their summer season with a bang (and plenty of laughs along the way). 

While the British weather didn’t quite get the memo, Much Ado About Nothing takes place in a (presumably much sunnier) Italy, among orange groves and twisting vines. It is here where young lovers meet, and plants, both playful and nefarious, are hatched - some to disrupt a soon-to-be-wed couple (Hero and Claudio), some to bring people together (Beatrice and Benedick). 

The play is as much about mischief and meddling as it is about love, something which director Sean Holmes leans into. In doing so, every moment of comedy is elevated - from Benedict’s almost slapstick reaction to overhearing “gossip” about Beatrice’s affection for him to Dogberry’s (the dim-witted but well-meaning leader or the watch), apprehending of some of those responsible for the play’s principal deceit.

By leaning into the play’s rich comedic tapestry, Holmes is also able to create heightened tension when what is transpiring stops being funny - such as the moments after Hero is falsely accused of ‘impurity.’ This is particularly true of her father Leonato’s rage-fuelled monologue (expertly performed by John Lightbody), which comes through a character who had previously appeared jovial and light-hearted and feels all the more startling.

The entire company excels in this production. Lydia Fleming (Hero) and Adam Wandsworth (Claudio) demonstrate a shared naivety that allows for a real sense of vulnerability during their romance's tribulations. This works in sharp contrast to the more wisened and often biting chemistry shared between Amalia Vitale (Beatrice) and Ekow Quartey (Benedick), which is present each time the characters grace the stage. Ryan Donaldson brings a boyish charm to the role of Don Pedro, bringing forward a playfulness not often brought to the character.

Though there’s no shortage of talent on the stage, Quartey is a real standout. There’s something incredibly compelling about his portrayal of Benedick, and there's humility behind the bravado the character uses as a shield. Beyond this, he demonstrates faultless comedic timing. 

Despite its Italian Renaissance setting, there’s a real sense of modernity in this production, with subtle script changes, fresh takes on well-known characters, and a wide variety of accents present. This speaks to the universality of the script itself, especially when it is given a chance to shine through a modern and, therefore, more accessible lens.

All in all, Much Ado About Nothing is a strong start to the globe’s summer season, with compelling performances and genuine laughter throughout.

Much Ado About Nothing is at The Globe Theatre until 24 August. 

Photo credit: Marc Brenner.

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