Review: MUCH ADO ABOUT NOTHING, RSC
Photo credit: Marc Brenner
Shakespeare’s Much Ado About Nothing has long been one of his most beloved comedies—equal parts romance and razor-sharp wit. It follows the sparring lovers Beatrice and Benedick, whose stubbornness and barbed banter conceal a mutual affection, while the younger couple, Hero and Claudio, are torn apart by deception and societal pressures before finding their way back to each other. At its heart, it's a story about love, honour, and the perils of reputation—ripe for reinterpretation in the age of social media.
Director Michael Longhurst has reimagined this classic through a fiercely contemporary lens. Gone are the Tuscan villas; in their place, the charged, hyper-visible world of a European Cup-winning football team, Messina FC. This production kicks off not with a gentle introduction, but with a full-throttle sensory assault—football chants, chaotic locker-room scenes, and brash displays of sexuality collide in a sequence that’s as discomforting as it is mesmerising. But isn’t that the point of theatre? To provoke, to stir, to challenge? No one said it had to be comfortable.
Longhurst holds up a mirror to the messiness of modern culture, daring to suggest that scandal and excess are not exclusive to the highbrow but part and parcel of the world we live in. It’s a sharp baptism into his vision, one where mobile phones, Bluetooth speakers, and live-streamed betrayals replace love letters and whispered rumour. Once this electrified world settles into rhythm, what emerges is, curiously, a relatively straight retelling—a testament to the timelessness of Shakespeare’s prose.
The production doesn't shy away from trimming some of the text to suit modern sensibilities, and it’s all the better for it. Lines that no longer serve are gone, while others are reimagined with a fresh humour that keeps the audience chuckling—none more so than the now-iconic Candy Dance moment (if you know, you know).
Technologically, the production is innovative without being gimmicky. Live feeds from mobile phones, bodycams and discrete cameras are projected across the stage, including onto flatscreen TVs embedded in the balconies—subtly reminding us that in today’s world, we’re all constantly observed, judged, and, often, misrepresented. The “stream of consciousness” isn’t internal anymore—it’s online.
The set and costumes, designed by Jon Bausor, are just as playful and audacious as the concept. Seamlessly shifting between the sweaty machismo of a football stadium and the sun-soaked opulence of a Mediterranean villa, it’s anchored by an utterly unnecessary—and completely wonderful—plunge pool-turned-fountain front and centre. It’s silly, splashy, and gloriously impractical. Water flying everywhere reflects the joyful chaos of both life and art. The actors are forced to navigate around it, lending the play a sense of perpetual motion. Damp bums, slip hazards, and unexpected splashes only added to the hilarity—proof that the messiness of theatre can be just as thrilling as its polish.
The chemistry between Freema Agyeman’s Beatrice and Nick Blood’s Benedick is magnetic. Their exchanges crackle with banter and vulnerability, mirroring the modern experience of dating where humour often shields emotion. Behind the jibes and perceived arrogance lies a shared history and, ultimately, deep affection. Their physicality speaks volumes, often saying more than Shakespeare’s lines ever could.
SuRie’s original songs are a welcome addition—melodic, emotionally resonant, and in perfect step with the production’s energy. They elevate key moments and give the piece a pop sensibility without losing the depth of the source material.
It’s not without its crudeness—at times, it teeters into Love Island territory, and yes, it’s a loud, maximalist vision—but it’s also a joyous, silly, and surprisingly tender interpretation of one of Shakespeare’s most enduring works. Imagine Footballers’ Wives meets Married at First Sight, sprinkled with iambic pentameter.
At a punchy 2 hours 35 (plus interval), the time flew by. From start to finish, we were utterly engaged. This is Shakespeare for the fast-fashion age—unapologetically messy, deeply entertaining, and surprisingly faithful at its core.
Well worth a trip to Stratford-upon-Avon. Go check it out, Besties!
***** Five stars
Reviewed by: Alanna Boden
Much Ado About Nothing plays at The RSC in Stratford-upon-Avon until 24 May, with further info here.