RSC’s 'Much Ado About Nothing' falls flat with awkward modern makeover

Although it is in vogue to create daring or outlandish interpretations by decontextualising original works, the jury’s still out regarding how effective many of these servings actually are. This applies equally to Stratford’s RSC’s recent outputs – including King John and Macbeth – both of which were problematic from a traditional or puritan perspective.

Their latest production of Much Ado About Nothing, directed by Michael Longhurst, is no exception. The production is – at best – a mediocre comedy that raises a few titters and – at worst – an exceptional disappointment.

Instead of the idyllic Messina of the Jacobean age, we are immediately thrust into a football stadium of the 21st century – full of gratuitous press analysis, an insatiable interest in celebrity, and the dangers of public intrusion in the form of social media. We have modernity expressed in costume and pop music, in half-naked boisterous footballers frolicking in a communal tub, and in WAGs behaving badly.

Michael Longhurst’s reimagining of Shakespeare’s classic at RSC Stratford divides audiences with its bold 21st-century setting

There is a multiracial ensemble of cast that gels, to some extent, but as always there is a deep, perpetual concern about the RSC’s lack of attention to the language of Shakespeare – the rhythms and cadences of characters’ speech patterns seem to have been ignored. One or two actors make a concerted effort, including Olivier Huband, who plays the mild and measured Don Pedro. But other than that, it’s very displeasing.

Nick Blood, playing Benedick, does a half-decent job, but he lacks the gusto required for such a role. Benedick is a roguish, dominant, and domineering character who needs to be verbose – sharp, punchy, and quick-witted. Blood appears anything but.

Freema Agyeman’s wooden Beatrice doesn’t score much better either, and nor do the numerous other characters who appear with very little introduction or background. The weaving of the subplot is also awkward and lacks real authenticity or conviction.

Nojan Khazai’s Don John – the villain of the piece – looks too likeable to be causing mischief whose intervention brings the comedy close to a tragedy. The result is a startling disappointment.

Coupled with overt promotion of diversity and the scattering of simulated sex acts, one is left wondering whether such tactics to entice an audience are really necessary. When is the RSC going to focus on being faithful to the original texts and amplifying the beauty of Shakespeare’s poetry rather than paying lip service to social policy?

Much Ado About Nothing is on at the RSC Stratford-upon-Avon till May 24.