REVIEW: Much Ado About Nothing

Guildhall’s Much Ado About Nothing is striking. Under Chelsea Walker’s direction, an extraordinary cast performed a near-flawless rendition of Shakespeare’s much adored comedy. The show maintained the traditional comedic energy of the play while drawing out the tragedy of the maiden Hero. Guildhall certainly does not disappoint with this timeless story. 

It is always impressive when a show mesmerizes with a set as basic as this one. Sam Bernstein’s lighting brought the stage to life. The use of golden backlighting during the funeral scene was brilliant and incredibly powerful in combination with the staging and set. The costumes were simple and effective; designer, Peiyao Wang, made intelligent use of color psychology in displaying the morality of each character throughout the performance. The use of animal masks during certain scenes was wonderfully creative. The compositions of Fergus Brignall were a particularly lovely addition to this play. They were hauntingly beautiful and perfectly suited to each scene, completing the audience’s immersion. 

Before I rave on the outstanding cast of this performance, I must deliver my singular criticism. Movement director, Diane Alison-Mitchell, weakened the overall experience with some of the early movement choices. Not only did the rave-like dance scenes disrupt the flow of the show, the choreography was odd at best and poorly executed. What was otherwise brilliant staging seemed to become confused during these scenes where several near-miss collisions occurred. Alison-Mitchell did recover somewhat in the closing scene, “Hero’s Dance”; this scene was incredibly moving and powerful with choreography that offered little but was delivered with such passion that you could not help but be moved. 

I applaud this cast because it is so rare that one watches a show and finds nothing but exceptional performances from each and every actor. However, even in a cast as strong as this there are standout performers. From the opening scene MC Bury captured the audience with the strength of their voice and commitment to the role of Don John. They were able to beautifully embody this morally grey Shakespearean villain. Anabella O’Gorman and Matthew Forrest as Beatrice and Benedict also stood out for their remarkable characterisations. Not only did the actors share electric chemistry, but they each delivered thoroughly engrossing performances. O’Gorman delighted as the snarky, sarcastic Beatrice, artfully combining comedy and drama to create a very human and relatable character. Forrest was truly wonderful in his jaunty and somewhat ditzy embodiment of the powerful Benedict. I must also mention Sophia Roberts in the role of Hero who took time to catch my eye but then delivered the most moving and emotional moments of the entire show. Her portrayal of Hero’s tragic downfall was faultless and had the entire audience holding their breath till the lights went down on her final dance. 

Much Ado About Nothing is a classic Shakespearean comedy that has seen many renditions in the centuries since its debut; Guildhall has done it justice. Disregarding a moment or two, every alteration or addition made to this play has served to strengthen it. Powerful music, the decision to lean into Hero’s tragedy, moments of audience interaction, a simple set with intelligent staging; all of this made the show truly memorable. 

If you can make any of the performances in this show’s short run, go, so you don’t miss the opportunity to see something magical.