Last Updated on May 4, 2024
Ebullient Shakespeare in an Authentic Setting.
In true British fashion, the morning of the 2024 Globe Theatre’s opening Summer Season production of Much Ado About Nothing was dismal. So far this year spring seems to have escaped us – and while we wait for the occasional sunny day the idea of open-air or even semi-open-air theatre loses its cachet. But, in true British fashion, the audience for last night’s Much Ado arrived with scarfs, warm tops and waterproofs. Even the open area to the front of the stage, where the groundlings stand was packed. By the time the show started, the clouds had disappeared and it was almost sunny – certainly warm enough to watch in comfort from the terraces.
It’s hard to believe that Shakespeare’s Globe Theatre has only been open since 1997 – the project of Sam Wanamaker and architect Theo Crosby. It is an institution and somewhere that everyone should visit at least once in their lives. Even if you think Shakespeare isn’t for you – in the magical surroundings of The Globe – an authentic rebuilding of the eponymous theatre that opened on the same site in early 1599 – you may just change your mind. This season you’ll have the chance to see Richard III, The Taming of the Shrew, Anthony and Cleopatra and a new work by Anne Odeke, Princess Essex, in addition to Much Ado About Nothing which runs through to 24th August 2024.
Written between 1598 and 1599, Much Ado About Nothing is one of Shakespeare’s most popular comedies. Set in Messina, Italy, it’s fast-moving and full of humour – even the title is a pun (nothing would have been pronounced as ‘noting’ in Shakespeare’s time). Misunderstandings, deception, and comedic antics ensue, leading to mistaken identities, accusations of infidelity, and ultimately, reconciliation. This production from Director Sean Holmes and Designer Grace Smart proved a real winner with the audience despite the somewhat drizzly weather.
Last night’s set, with orange trees, a balcony for the musicians and a couple of crows’ nests set around pillars was a perfect foil for the merry troupe of actors and musicians. The use of props – from a wicker coffin marched ceremoniously into the groundlings to baskets of oranges that were cut and consumed, thrown into the audience or at times violently stabbed(!) was simple but effective. Costumes were vibrant and colourful – I particularly liked Benedict’s matching waistcoat and codpiece – and the various outfits for the masked ball were just stunning. While there are elements of contemporisation in the production, for the most part, this is classical Shakespeare. In the enchanting setting of the Globe, performed without any amplification and minimal lighting it was truly memorable.
Of course, much of the success of any production of this is due to the acting. With fine performances all around it almost seems unfair to single out individual actors. However, both Beatrice (Amalia Vitale) and Benedick (Ekow Quartey) were convincing in their roles and both had the audience in fits of laughter. Perfectly matched and each witty, charismatic and sarcastic, they did seem made for each other.
The charming Hero (Lydia Fleming) and her naive but petulant lover Claudio (Adam Wadsworth) were truly endearing.
In this production, with no Balthasar in the cast, Leonato, Hero’s father (John Lightbody), plays a central role and takes on singing ‘Hey nonny nonny’ turning it into an audience singalong while Benedick, watching from the crow’s nest, tries to stuff orange peel into his ears to drown out the music.
It could just have been chance, but Don John (Robert Mountford) bore a striking if rather camp resemblance to our current Prime Minister while his well-meaning half-brother, Don Pedro, the Prince of Aragon (Ryan Donaldson) was suave and convincing.
Most importantly, the delivery of Shakespeare’s blank verse was genuinely easy to follow – every cast member with perfect phrasing and clear articulation.
Music for the show written by Grant Olding was an integral part of the performance, performed by a small band led by Charlie Laffer on guitar. And, in this fast-moving comedy, brilliantly characterised dance helped reinforce the roles of each of the players.
This is Shakespeare for everyone to enjoy – accessible on many levels and in a setting that any visitor to London should experience. Tickets start at just £5 for groundlings (standing) entry.
Much Ado About Nothing is showing at The Globe until 24 August 2024
Shakespeare’s Globe Theatre
21 New Globe Walk,
London SE1 9DT
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