Much Ado About Nothing – Shakespeare’s Globe, London

Writer: William Shakespeare

Director: Sean Holmes

Shakespeare’s classic comedy has been delighting audiences since 1600, and this year is no different. The Globe’s latest production of Much Ado About Nothing, brings new humour while retaining the traditional stylings of the play, appealing to both contemporary and old-school audiences.

The casting for this production is phenomenal. Amalia Vitale playing Beatrice brings a fiery and lively attitude to the role and can bring heart to tender scenes as well as the wittiness that is so beloved in the character. She is lovingly protective over her cousin, Hero, which illuminates her strong will.

She works dynamically alongside Ekow Quartey as Benedick. His take on the role, while remaining sincere, brings the comedic atmosphere that enraptures the audience in this production. His comic timing and carefully chosen mannerisms keep the audience engaged in every scene he is in and he commands the stage as soon as he arrives.

The pair particularly delights the audience in the scenes where they eavesdrop enough to hear how they love one another. The audience waits with anticipation to watch Quartey climb the winding staircases decorated on either side of the stage, nearly being discovered, and hover above the characters below while he rejoices at the news of Beatrice’s love.

Vitale similarly disguises herself among the orange trees while guffawing at the news of Benedick’s feelings. Despite how amusing this iconic scene is, it is also particularly heartwarming to watch the characters let their guard down when they are alone, and be charmed by the opposite’s love. Vitale and Quartey so effectively portray the tender side of their characters that you cannot help but rejoice when they are united at the play’s conclusion.

Lydia Fleming as Hero is charming and delightful, graciously showing her kindness throughout. This makes it even more devastating when she is accused and insulted at the altar. Adam Wadsworth as Claudio does an excellent job at transitioning from boyish charm in the first act when he is enamoured with Hero, to envious and pious when he believes he has been slighted by his bride. The actor is excellent at convincing the audience to both love and hate him seamlessly throughout the play.

The cast works together excellently in this production. There is a beautiful flow transitioning between scenes as though it were a modern script, making this production accessible for all. In group scenes, the cast’s movements have been choreographed incredibly well, so that we do not lose sight of our main characters and the plot, but can also enjoy the ensemble’s work, particularly in the case of Jonnie Broadbent, portraying Dogberry, who provides particular comic relief while still befitting a classic play.

Set designer Grace Smart has wondrously transformed The Globe into Messina with orange trees and winding staircases. The vibrant set design combined with the musical stylings of the traditional band featuring mandolin transports the audience to summertime in Italy, despite the grey overcast of English weather.

Costume supervisor, Jacquie Davies, chooses a palette to reflect the orange trees and blue ceiling of the set, incorporating bright colours unusual to a period piece. This channels the lighthearted nature of the play. Hero’s costuming of bright white gowns displays her innocent and goodhearted nature, while Beatrice’s incredible blues and intricately detailed dresses highlight her complicated character as she battles between her inner feelings and her hard facade.

This production directed by Sean Holmes has all the elements to be the hit of the Globe’s summer season.

Runs until 24 August 2024