RSC scores with Bard's rom-com set in world of football and WAGS
- Julie Chamberlain
- 4 hours ago
- 3 min read
Much Ado About Nothing, Royal Shakespeare Theatre, Stratford-upon-Avon, until 24 May. Director Michael Longhurst.
Review by Julie Chamberlain.
Come the heroes home from war – or in this case, from winning the European Cup, and ready to find women and party.
It’s a brave switch of scene to set this comedy of gender stereotypes at a villa where Messini FC players are celebrating their win, rather than soldiers returning from a successful battle, but it’s one that works wonderfully.
This is largely down to the multi-talented cast. Not only do they act, but they need perfect comic timing, slapstick skills, to be able to sing and dance, and look good in very few – and in one case no – clothes, and also not mind leaping into the on-stage jacuzzi if required.
There are plenty of typically-lewd Shakespearian lines in the comedy, and although some are missed out this production manages to ramp up the comedy and make it even smuttier if possible, including the most graphically-portrayed sex act I’ve ever seen in the theatre.
The first few minutes of footballers noisily celebrating a win, leaping around amidst TV cameras and interviewers, with pictures glaring across multiple screens was the only bit that did not work; words got lost in the mayhem, and it took a few minutes to work out what was happening.
Team captain Benedick is interviewed by sports broadcaster Beatrice, battling misogyny in the male-dominated world of football, but they are soon sparking off each other, though both declaring their mutual dislike and abhorrence of the idea of marriage, which is not fooling anyone.
Fellow footballer Claudio is however smitten with Hero, the Barbie-like daughter of Messini FC’s owner, and their wedding is soon imminent. Don Juan, the illegitimate half-brother of Don Pedro (from Messini FC in this production, originally a brother defeated in battle), conspires to make it appear Hero has been unfaithful. Unknowing, Don Pedro and Hero decide to trick Benedick and Beatrice into really falling in love.
Additions to the plot caused by the football setting include Borachio, who enacts a scene with the maid Margaret who people will take to be Hero, being a sleazy, coke-snorting press photographer.
Messini FC owner Leonato looks and has mannerisms suspiciously like an English Silvio Berlusconi (long-time owner of AC Milan). Mobile phones, a disco and live filming play a central part. The staging is excellent, with parties continuing at the back in slow motion while we focus on characters speaking at the front.
When Claudio confronts Hero about her ‘unfaithfulness’ at their wedding, screens around the stage light up with dozens of texts and social media posts speculating on what has happened. But Shakespeare used the word slander repeatedly in this play – he knew the power of gossip so the use of online tale-spreading seems highly appropriate.
Nick Blood is excellent as Benedick, with a range of hilarious facial expressions, and great physical acting skills as he hides under a massage table to overhear a conversation, and then loses his only clothing (a towel). Freema Ageyman is a suitable firebrand as Beatrice, but also empathetic with Hero. Antonio Magro as Dogberry, the foolish head of security, plays the idiot well with his team of dozy staff.
The stereotypical views of footballers and celebrity girlfriends might seem a bit outdated, but incorporating social media frenzies into the plot lifts the staging into the twenty first century, while still keeping the original Shakespearian focus on gender relations central.
For tickets: https://www.rsc.org.uk/much-ado-about-nothing/
