A review of Jamie Lloyd’s Much Ado About Nothing

When someone recently described Jamie Lloyd as a one trick pony, I was somewhat inclined to agree. At that point we were seeing a number of live cinema productions from the director, the slick and well developed form undeniably perfected but perhaps a little predictable. The producer in question was sceptical about the upcoming runs of Shakespeare at Theatre Royal Drury Lane, but I was buoyantly optimistic. When the line up for Much Ado About Nothing was released, I jumped at the opportunity to see some of my favourite actors perform in my favourite theatre… Was I disappointed? A loud and resounding no!

Lloyd has turned a beautiful theatre into the ultimate party venue. There are strobe lights, club classics and more pink confetti than you have ever seen in your life! From the moment I entered the theatre I felt that I was transported, the familiar setting fading away – this was going to be a fun ride, I could already tell. And there’s no denying that this is a show which defies expectations. Whether you are expecting a repeat of Romeo and Juliet or simply a classic Shakespeare, you will find yourself walking out feeling that you have in fact seen a musical. Upbeat and so, so fun, this is a production filled with dancing, live singing from the talented Mason Alexander Park and some wonderful tongue in cheek moments. Over and over when describing the experience to friends ‘fun’ is the word that comes to mind. A simple adjective, yes, but that is what this production is. There’s no need for complicated language or lengthy descriptions, it is simply the most fun I think I’ve ever had sat in the auditorium of a theatre.

It is also a production which is joyfully irreverential. Not to give any massive spoilers, but let’s just say there are cardboard cut outs of familiar Marvel characters and a fair few movements of the wilful breaking of the fourth wall. And I think that’s where the genius lies. In lecture halls academics preach that Shakespeare is not a dry and serious playwright but a mischievous and bawdy one and that is easy to forget when staging his work today, yet here we have a play which strips the pretension away and instead presents something raucous for the masses. It’s less stuffy classical literature and more Valentine’s rom com.

But shall we talk about the actors themselves? Predictably, Tom Hiddleston and Hayley Atwell‘s performances are flawless, both actors doing themselves and the material proud. Taking on the roles with so much energy and emotion, these leads are a sheer joy to witness, breathing life into these age old characters and making you feel you are watching their story for the very first time. Yet, equally, every single one of the supporting roles is performed with captivating skill and vividness. Mason Alexander Park and James Phoon‘s performances stand out as I’m sitting here recalling the night; however, to single out any one actor feels disloyal, for this is an exceptional ensemble.

Of course, this isn’t completely unrecognisable as a Jamie Lloyd production, with chairs placed around the edge of the space and The Lane’s famously large stage devoid of any scenery beyond an inflatable heart descending from the flys. Yet, it is easy to forget about the sheer emptiness of the space, given the size of the performances. In fact, the presence of the entire cast upon the stage for the majority of the play is a definite asset and excellently utilised. As predicted, this is a wonderfully stylised production, reestablishing why I will fight Lloyd’s corner every single time.

There is so much more I could say, but I will leave you with the command to book yourself a ticket and understand why I’m still thinking about this show two weeks later! Looking like a cross between a Valentine’s dream and a Miles Aldridge photoshoot, this unique rendition of Much Ado About Nothing is a triumph. It is a play which feels larger than life, bringing Shakespeare into the modern age with skill and no small degree of confetti. It was an absolute pleasure to watch and dare I say the best interpretation of the Bard’s work I have ever seen. I’ve been known to say this before, but I don’t think it’s ever been so true: the cast were having the time of their lives upon that stage. From the opening dance routine to the final number, this is more musical than play, more current than classical and undeniably the theatre event of the year.