Review: Much Ado About Nothing, at the Theatre Royal Drury Lane, London

It has been a while since I have seen any Shakespeare (bar working on a performance of The Merchant of Venice 1936, but that doesn't count here). And it is definitely the first time I have seen the Bard play in London, often choosing to go for musicals instead. 

However, that ends no more, just as this adaptation, along with The Tempest, has brought Shakespeare back to Theatre Royal Drury Lane for 60 years! But while The Tempest did not fare well, Jamie Lloyd's adaptation of the comedy Much Ado About Nothing has been received far better. 

For those unfamiliar with Much Ado, like myself before watching this, let me introduce you to Benedick and Beatrice, the original enemies to lovers

Our two heroes have been wittingly sparring with each other for a long time. So their entourage decide to play Cupid and allow them to believe them both that they are head over heels with the other. But it's not all lightness and laughs, as a darker plot is underway to pull another pair of lovers apart. 

Much Ado is one of Shakespeare's most loved comedies, often known as "the original Rom-Com"; the question for me, is would it live up to my favourites of his, them being A Midsummer Night's Dream and Twelfth Night. But I was reminded of one thing really when it came to adapting Shakespeare: 

It's how the text is given the space to shine

And just like with Sunset Boulevard, Jamie Lloyd does exactly that. An almost bare stage bar a few plastic chairs allows the audience to get absorbed in the script and the characters. The one thing that is noticeable is the floor. It is full of pink confetti, with even more raining down from the ceiling. Trickling or stopping altogether in the more uncertain moments, and raining down heavier than a standard day in Lancashire in moments of pure euphoric joy. The ending of Act 1, of Beatrice realising her affections for Benedick, and the pure joy on her face is one such example. 

This is a stacked cast, with everyone having worked in Jamie Lloyd Co productions at least once before. And it is headlined by two headliners who are both big names in the Marvel Cinematic Universe: Tom Hiddleston and Hayley Atwell. Now, I must admit, being an MCU fan, I was excited to see them. I'd seen an NT Live of Hiddleston performing Coriolanus, but never seen him live on stage before. Aaaand I have to admit, Hiddleston is my #1 celebrity crush...

They could not have been a more perfect first Benedick and Beatrice if they had tried

Hiddleston and Atwell had such incredible chemistry together, you couldn't help but be drawn in when they're at each other like cats and dogs, or laugh at every single Shakespearean insult that was delivered so brilliantly. Importantly, they are both also given the opportunity to let their hair down and be silly. Hiddleston in particular gets a lot of physically comedic moments, rolling around in confetti in an effort to hide himself from his entourage. You couldn't help but laugh. 

When it gets more serious however, the two of them switch mood entirely without losing chemistry or any of their magnetic charm. That's not easy to do. 

The other person I need to highlight in this cast is Mason Alexander Park, best known for their performance in The Sandman. Park played Margaret, who is traditionally a smaller part. Lloyd used Park's exceptional talent to the max though, by shining a light on their incredible singing voice. They get the opportunity to sing a lot of dance anthems in the show, and what a voice they have! I now regret missing their run as the Emcee in Cabaret; I hope they get the chance to appear in more musicals so they get the chance to show off their incredible voice. 

To make it feel like a true party, Lloyd needed one more person: choreographer Fabian Aloise

There is a lot of dance in this production; and not traditional kind of dance you'd find in a theatrical setting. Naw, this was like breaking out in the middle of a club. It was joyful, wild and free. 

The choreography along with Park's vocals and the streaming pink confetti. Just be aware though that there is some flashing strobe lighting at one point. Plus the masked ball scene, with everyone wearing a mask worthy of The Masked Singer, gets a little trippy in places. 

If I were to describe Much Ado About Nothing in one word, it would be: joyful

It is sadly soon closing, so I would urge you to try and get tickets before they have to vacate Drury Lane for Hercules. 

I'm happy for Jamie Lloyd and he must be breathing a sigh of relief: that after his Romeo & Juliet at the Noel Coward was met with mixed reviews, and The Tempest having a poor reception, that he's ended the season on a bang with Much Ado, along with the success Sunset Boulevard is having across the pond. We shall have to see what his revival of Evita, with the newly announced Rachel Zegler, will bring.