Review: MUCH ADO ABOUT NOTHING, Theatre Royal Drury Lane

After a rather muted reception of The Tempest, fans of director Jamie Lloyd’s work can breathe a sigh of relief. It seems that he has discovered both fun and colour in this brilliant and bold version of Much Ado About Nothing starring Tom Hiddleston and Hayley Atwell.

For what is arguably Shakespeare’s most playful and witty play, the production is imbued with an energetic party atmosphere. From the dancing ushers to the Masked Singer-inspired animal heads and much twerking, Lloyd manages to convey the frivolity of Benedick and Beatrice’s “merry war”, without losing the jolt which comes from the humiliation of Hero.

Whether the spikiness of Benedick and Beatrice’s will-they-won’t-they relationship works or not depends on chemistry and here it is abundant. After Sigourney Weaver's struggles to connect to the language in The Tempest, this show is proof that star casting sometimes works. It is also worth noting that Hiddleston and Atwell have known each other since they auditioned for RADA (Hiddleston got in, Atwell went to Guildhall) and this long-term friendship is reflected with genuinely angled banter and real knowingness between the pair.

Hiddleston is not afraid to fall into the innate vanity and silliness of the character, frequently breaking the fourth wall to joke and gesture to the audience, much as Elizabethan actors would have done. He has hugely confident swagger, but also deftly lowers his tone and slows his body language when confessing his love for Beatrice.

But it is Atwell who is the standout, striding the stage in a bronze Lurex jumpsuit like a Studio 54 diva. She is confident, strident and has great drive; her delivery of Beatrice's lines drips with contempt, pride and wit and yet she crumples and looks physically wounded at her own duping and the harm done to her cousin. It is the best version of the character I have seen on stage.

What is clear is that there is a deep understanding of the rhythm and flow of the language, with fluid and coherent delivery that is simply gorgeous.

Much of the rest of the cast appeared in Lloyd’s The Tempest. (It must have been quite a shift during rehearsals to move between the two shows). Mara Hut’s Insta-influencer Hero is given much more anger and agency, furiously pushing James Phoon’s cruel and foolish Claudio before she relents and kisses him.

Gerald Kyd, resplendent in a pink pussy-bow shirt, brings depth to Don Pedro as he seems genuinely hurt by Beatrice’s rejection. Tim Steed gives us a camp, comedy-villain Don John, even performing a mock evil cackle.

Lloyd maintains some of his trademarks, such as the use of headsets and retaining the cast on stage throughout much of the production. His decision to cut the Dogberry/Verges scene is very welcome and he really leans into the theme of a battle of the sexes with various dance-offs, brilliantly choreographed by Fabian Aloise.

Soutra Gilmour’s design along with Jon Clark’s deft lighting, gives us a cavernous space filled simply with drifts of snow-like pink confetti which floats down intermittently from the heavens, purple-hued plastic school chairs and a giant inflatable heart at the back of the stage. It is simplicity itself and all the more charming for it.

The amazing '90s soundtrack is awash with classic house music numbers, frequently sung by Mason Alexander Park, who is also a funny and asute Margaret.

Hugely camp, incredibly romantic and wildly fun, this is a truly joyous evening of theatre. Jamie Lloyd is back.

Much Ado About Nothing is at the Theatre Royal Drury Lane until 5 April

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