How many glitter balls do you need to stage a production of Shakespeare’s Much Ado About Nothing? The answer it seems, is four, or it is for a Jamie Lloyd production at least. How much pink confetti? Well, that’s a trick question; you can never have too much pink confetti.
Jamie Lloyd’s production of Much Ado About Nothing at the Theatre Royal Drury Lane is a vibrant reimagining of Shakespeare’s beloved comedy, even if it does stray from the original, and powered by electrifying performances from Tom Hiddleston and Hayley Atwell.
That blizzard of coloured paper pours down on the stage, with varying levels of intensity for the duration of the show. Falling on Soutra Gilmour’s non-existent set it succeeds in immersing the audience in a party-like atmosphere.
The production’s hot pink aesthetic feels both playful and contemporary, and brings something that was lacking in The Tempest. Though many of the cast return this is a more high-energy interpretation for Messina’s romantic entanglements.
With a soundtrack of Nineties bangers, Fabian Aloise’s movement direction ensures the stage brims with life, with dance and music interwoven into the narrative. Mason Alexander Park, as Margaret, provides the majority of the vocals, and just like in The Tempest, proves to be the highlight of the evening.
This dynamic approach breathes fresh energy into Shakespeare’s text while making it accessible to modern audiences. Though it should be said that not all of the cast are adept with the moves or vocals, and the cringe factor (possibly intentionally) is off the scale.
At the heart of this production are Hiddleston and Atwell as Benedick and Beatrice. Their chemistry is magnetic, delivering sharp-tongued banter with impeccable timing. Hiddleston’s Benedick is both charmingly cocky and self-deprecating, while Atwell’s Beatrice exudes wit and emotional depth. Their sparring scenes are a masterclass in comic timing, yet they also shine in moments of vulnerability as the characters confront their true feelings.
The supporting cast adds further depth to the production. Mara Huf’s Hero is delicately portrayed, while James Phoon’s Claudio captures both youthful passion and naivety.
Tim Steed’s Don John brings just enough menace to his scheming without overshadowing the comedic elements. Meanwhile, Mason Alexander Park as Margaret injects humor and warmth into the ensemble.
To accommodate all this partying, and a couple of scenes resembling an episode of The Masked Singer, this Much Ado About Nothing has seen cuts. Key emotional moments, especially in Claudio and Hero’s storyline, feel rushed, leaving less room for their arc to resonate fully. Additionally, while the modern aesthetic is striking, it occasionally risks overshadowing Shakespeare’s language. Some moments of dialogue feel slightly lost amid the visual spectacle.
The confetti storm briefly turns to a drizzle in the second act, as the darker elements of the story emerge. Here, Lloyd successfully balances humour with heartbreak, ensuring that the play keeps some of the intended emotion. Ben and Max Ringham’s sound design further enhances the production, underscoring pivotal moments with subtlety.
Jamie Lloyd’s Much Ado About Nothing is a daring and inventive production that showcases Shakespeare through a modern lens. It won’t be for everyone; it’s desire to be a party piece leaves some aspects under explored and diminishes the emotional impact of others. Still, it remains an exhilarating theatrical experience anchored by stellar performances from its leads and ensemble.
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