When Jamie Lloyd gets it right, he really does create magic, and he’s done exactly that with his new production of Much Ado About Nothing, starring Tom Hiddleston and Haley Atwell. It’s enough to make anyone fall in love with both Shakespeare and theatre. Yes, it’s that good!
It’s not a straightforward task to make the archaic language of Shakespeare easy to understand for the modern ear, but this team has achieved it—and they make it look effortless. You do not need to have read up on the story beforehand, nor do you need to brush up your Shakespeare. It has all been done for you with this wonderful, modernist interpretation, which shows a deep understanding and appreciation for the play in hand, and stays true to the original text.
The show’s accessibility is aided by excellence from all the actors. The diction is crystal clear, but beyond that, the performances themselves are spectacular. The set is stripped back to nothing but a carpet of pink confetti, but the same cannot be said about the production. Hiddleston and Atwell reveal hidden depths to our lead protagonists, Benedick and Beatrice. We may not know much about their day-to-day lives, but we do see what makes them tick—and, more importantly, what draws them together and pulls them apart. Both actors bring light, shade, humour, and immense physical energy to their roles – and it works. The chemistry between them, in their love-hate relationship, is palpable.
Mason Alexander Park delivers a standout performance as Margaret, bringing not just a rich vocal performance to the role, but also a vulnerability that adds unexpected poignancy. Their singing is both beautiful and deeply affecting, weaving seamlessly into the production’s modern aesthetic.
The entire ensemble is perfectly cast (led by casting director Stuart Burt Cog, a long-time collaborator of Lloyd’s), each actor bringing their own spark while working together to create something that feels much greater than the sum of its parts. There’s a real sense of cohesion, of a company completely in sync, which only heightens the play’s emotional depth and comedic brilliance.
The set design and colour-themed costumes by Soutra Gilmour (another long-time Lloyd collaborator) follow the Jamie Lloyd Co. signature minimalist style—at first glance, appearing sparse, but in reality, is anything but. The moments of spectacle are all the more striking for their restraint: the pink confetti is used to great effect, in surprising ways, as both prop and as spectacle, falling from the ceiling. A giant, pink, heart-shaped balloon appears at intervals and is cleverly used in various scenes, adding to the humour. The actors each have the use of a simple, polyprop chair. The full area of the stage is used to maximum effect giving literal and metaphorical depth. This simplicity allows the language, the acting, and the relationships to shine, proving that sometimes, less really is more.
The sound design and use of music (by award-winning duo Ben and Max Ringham) throughout is equally inspired. Every choice feels organic rather than bolted on, enhancing rather than distracting from the storytelling. The pulsating beat of the dancefloor during the party scenes is particularly effective, immersing the audience in the revelry. And then there’s the airhorn—used with perfect precision to highlight key moments, it adds a contemporary, almost playful edge to the production’s rhythm. The choreography and movement (Fabian Aloise) are fun, and bring a new angle and spirit to the proceedings.
This Much Ado About Nothing is fresh, exciting, and a thoroughly engaging take on a classic; it proves just how electrifying Shakespeare can be in the right hands. Beg, borrow, or steal (Ed. don’t steal) a ticket for it right now. It is a stunner.
Much Ado About Nothing is playing at Theatre Royal Drury Lane until 5th April 2025.
Book tickets here: lwtheatres.co.uk
Words by Helen Keegan
Photos by Marc Brenner
