Much Ado About Nothing – Shakespeare’s Globe

A perfect balance of creativity, wit and charm. Shakespeare continues to delight through this wonderful Globe production

It was a lovely day when I went to see Much Ado About Nothing at Shakespeare’s Globe, and I do find that good weather certainly helps when attending open-air theatre. For those who have never visited the Globe, there are options to be seated or to stand in the Yard as a Groundling, just as audiences would have done historically.

If you choose to stand, you become much more involved in the action. Many entrances and exits happen through the audience, and there are several moments where actors directly engage with those gathered around the stage. This creates a wonderfully contemporary atmosphere and adds an extra layer of comedy to proceedings.

I do love a good Shakespeare and, while I am not a complete purist, I am also not a huge fan of some of the more abstract modern productions that seem determined to reinvent every aspect of the text. This production flirts with modernisation but ultimately stays on the safer side of the spectrum, which I think will keep most audiences happy.

Directed by Chelsea Walker, the production features Assa Kanouté as Hero and Adam Long as Don Pedro, both making their professional theatre debuts. It is a testament to the strength of the company that neither performance feels overshadowed by more established cast members. Alongside Pippa Nixon’s Beatrice and Ken Nwosu’s Benedick, they help create a production filled with confidence, charm and warmth.

The set, designed by Sami Fendall, is relatively plain at first glance. A predominantly white structure represents Leonato’s lavish household, with a double-sided staircase leading up to a mezzanine level where the musicians are housed. Beneath the staircase are three entrances, while an extended thrust stage projects out into the audience, almost dividing the groundlings into two halves. While not elaborate, it proves highly functional and allows for plenty of inventive staging throughout the performance.

It took me a little while to warm to Ken Nwosu’s Benedick. He leans heavily into the character’s playful and humorous qualities, presenting a much lighter interpretation than the sharper, more cynical version audiences often see. However, once I adjusted to this approach, it became incredibly enjoyable. Opposite him, Pippa Nixon’s Beatrice is wonderfully sharp-witted and independent, but the contrast when she begins to acknowledge her romantic feelings is beautifully handled and a genuine delight to watch. Together they create a pairing that feels both believable and enormously entertaining.

Special mention should also go to Assa Kanouté as Hero. It would be easy for Hero to be overshadowed by the verbal fireworks of Beatrice and Benedick, but Kanouté brings warmth and sincerity to the role, ensuring the emotional stakes of the play remain firmly grounded. Alongside her, Joshua John delivers a convincing Claudio, allowing the central conflict to land with the seriousness it requires.

The costumes also contribute to the production’s unique aesthetic. They seem to draw inspiration from several different eras without ever settling on one specific time period. Some trousers have a distinctly 1950s cut, certain jackets feel more reminiscent of the 1990s, and the occasional pair of trainers makes an appearance. Rather than creating confusion, it gives the production a timeless quality that feels appropriate for Shakespeare’s enduring themes.

While this is undoubtedly a five-star production, there were one or two stylistic choices that did not entirely suit my tastes. The exaggerated full-head masks and some of the deliberately nonchalant dance sequences felt slightly at odds with the rest of the production for me. That said, these moments were still amusing and certainly did not detract significantly from the overall experience. As I mentioned earlier, this production comfortably occupies a middle ground. It is not so modern that we are suddenly confronted with UV lighting and pounding bass tracks, but neither is it so historically rigid that everyone appears in elaborate ruffs and period dress.

One aspect I particularly enjoyed was the inclusion of small, unscripted moments that showcased the creativity of the direction. There is a wonderfully comic sequence involving the watering of flowers. The audience spots the hose and naturally anticipates some sort of mishap. What follows is funny enough on its own, but then the joke is escalated once more, resulting in one of the biggest laughs of the evening.

This scene is follows Benedick’s famous eavesdropping sequence. As he attempts to hide while overhearing a conversation, he gradually works his way through the audience, around the stage, and eventually onto the double staircase. Each new hiding place becomes more ridiculous than the last, culminating in another perfectly timed comic moment. The physical comedy throughout this sequence was exceptional and had the audience in fits of laughter.

Much of the broader comedy falls to Richard Katz’s Dogberry, who proves a reliable source of laughter throughout. The character’s pomposity and confusion are played with excellent timing, earning plenty of laughs without becoming overly exaggerated or distracting from the main story.

The live music, under the direction of Zands Duggan, also adds greatly to the atmosphere. Performed from the mezzanine level above the stage, the musicians become part of the world of the play rather than simply providing accompaniment, helping to maintain the energy throughout the performance.

Overall, this is an accessible, highly entertaining production that respects Shakespeare’s text while embracing enough contemporary touches to feel fresh. Whether you are a Shakespeare enthusiast or someone approaching Much Ado About Nothing for the first time, there is plenty here to enjoy. Combined with the unique atmosphere of the Globe itself, it makes for a thoroughly enjoyable evening of theatre.

*****

Photo Credit Marc Brenner