Much Ado About Nothing

Drawing on the musical allusions inherent in this play and expanding them to develop music, dancing and song gives this text an inspiring new interpretation. Pop and rock music is cleverly woven into the play and parts of the text are given musical adaptations. The characters are dressed like new romantic artists and pop culture is instantly and seamlessly married to historical Messina where the play is set. Soldiers are swapped for members of a band (Benedick and the Love Gods) and Beatrice (Anna Burgess) and Hero (Larissa Teale) headline their own group (The Babes of Disdain). The more the play unfolds, the more natural this musical connection becomes. 

Overall, this modern musical take on the play draws out the language and creates a very amusing, entertaining, and fun-filled performance, and the spirit of Much Ado About Nothing is beautifully captured. The fickle nature of the characters and their tendency to invent schemes, enter into rivalry and banter fits in well with the qualities of touring musicians. Benedick (Hugh Sexton) is particularly well suited to this and his pejorative musings on marriage and his underlying desire to resist his attraction to Beatrice is very nicely contextualised in this pop music culture.

The only moment when this approach does not seem to fit is the country and western interpretation of the ball scene where Don Pedro (Johnny Light) woos Hero on Claudio’s (Alex Cooper) behalf. The cumbersome costuming obscures some of the crucial plot points in this scene and the purpose of the choice of music style is also unclear.

Sexton and Burgess are both particularly strong in bringing the attraction between their characters to the foreground. They exploit all the fiery passion imbued in the constant bickering between the two lovers. The opportunities to turn their emotions into song also help to make their romantic attachment genuine as well as evident and inevitable. This is another example of how inclusion of the music enhances the play.

Leonata (Natasha Herbert) is given a very regal presence and Herbert captures the stature of the character perfectly. This is reflected in the precision of her performance and the stylish nature of her costume. Don John (Nicole Nabout) is given a very wicked yet appealing quality. Nabout finds the exact tongue in cheek tone to deliver her raunchiness, and this gives her villainy a very amusing edge. She takes pleasure in the chaos she creates and appears motivated by a cool combination of impishness and sourness. This adds further humour to the play. 

There are many great touches in this show which help to build the festive atmosphere and enhance the humour, such as the element of live music (Tony Harvey) and casting Dogberry (Madeline Somers) and Verges (Tony Rive) as stereotypical roadies. This is a solid performance packed with great music and song and an insouciance which accentuates the universal appeal of this play. 

Patricia Di Risio