Much Ado About Nothing at Shakespeare’s Globe Review
The Company of Much Ado About Nothing. Photo: Marc Brenner.
Written by Philip for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review. All views are our own
Shakespeare can often seem a daunting prospect for modern audiences, but Much Ado About Nothing remains one of the most joyous and accessible entry points into his work. Alongside A Midsummer Night’s Dream, it is, in my view, one of his most enduring and entertaining comedies. When staged well, it feels remarkably contemporary—and this production at Shakespeare’s Globe, directed by Chelsea Walker, is staged exceptionally well.
In fair Messina, where we lay our scene, we meet Leonato, who eagerly awaits the arrival of Don Pedro and his companions. Alongside his daughter Hero and his niece Beatrice, he prepares to welcome the returning soldiers, among them Claudio and Benedick. It soon becomes clear that Beatrice harbours some rather pointed opinions about Benedick and is far from delighted by his impending arrival. Thus begins the play’s central battle: Beatrice versus Benedick. There is most definitely no love lost between these two—or is there?
Meanwhile, Claudio falls hopelessly in love with Hero, and Don Pedro vows to woo her on Claudio’s behalf at a masquerade ball. His plan succeeds, and Claudio and Hero are soon engaged to be married. Amid the celebrations, their friends concoct a scheme to trick Benedick and Beatrice into believing the other is secretly in love with them. What follows are some of the play’s funniest scenes, as each hides nearby while friends loudly and deliberately proclaim the supposed affections of the absent party.
Elsewhere, the villainous Don John, Don Pedro’s embittered brother, hatches a plot to destroy Claudio and Hero’s happiness by staging evidence that Hero has been unfaithful. And all of this is only the beginning. Packed with misunderstandings, deception, and endless "will they, won’t they?" moments, Much Ado About Nothing is a glorious Shakespearean farce populated by larger-than-life characters and deliciously tangled relationships.
Walker’s direction is sublime. She injects energy and vitality into an already magnificent play, ensuring that its themes feel immediate and relevant. The production is filled with recognisable characters and situations that resonate even today. Crucially, Walker does not shy away from the play’s central concerns—gender roles, identity, deception, honour, and love. Instead, she places them front and centre, allowing the audience to engage fully with both the comedy and the darker undercurrents of the story.
The cast are all excellent, with the central performances from Ken Nwosu and Pippa Nixon as Benedick and Beatrice proving a particular highlight. Their chemistry is electric, capturing perfectly the balance between antagonism and affection that defines these warring lovers. Nwosu is charismatic, warm, and effortlessly funny, while Nixon matches him beat for beat, bringing a sharp wit and deliciously venomous sarcasm to Beatrice. Together, they form a near-perfect partnership.
Adam Long delivers a wonderfully assured Don Pedro, portraying him with cool authority and quiet charm, while Joseph Potter offers an equally impressive turn as the scheming Don John. His performance is deliciously Machiavellian, providing a compelling counterpoint to the play’s romantic exuberance. Jonathan McGuinness is particularly fond affecting as Leonato, especially in the production’s more emotionally charged moments.
One inspired choice is the decision to reimagine the Friar as a female religious figure. Geraldine Alexander’s Sister is compassionate, authoritative, and fiercely protective of Hero when she finds herself publicly disgraced. It is a thoughtful adaptation that feels entirely natural within the world of the production.
Special mention must also go to Dogberry. Though comparatively small, the role contributes a huge amount of the play’s humour, and Richard Katz proves a delight throughout, wringing every ounce of comedy from Shakespeare’s gloriously absurd constable.
Inevitably, comparisons will be drawn with Jamie Lloyd’s high-profile West End production from a few years ago. While there are similarities, they are ultimately very different interpretations. Lloyd’s version revelled in spectacle and excess, whereas Walker’s production strikes a more balanced tone. The comedy remains broad when necessary, but the characters are grounded in reality rather than existing as caricatures. As a result, the emotional stakes feel all the more genuine.
All in all, this is a triumphant production from Shakespeare’s Globe: heartfelt, hilarious, and immensely entertaining. It is a wonderful addition to the summer season and an ideal introduction to Shakespeare for newcomers, while offering plenty for seasoned theatre-goers to enjoy. A delightful evening of theatre and one well worth seeking out.
Much Ado About Nothing is playing Shakespeare’s Globe Theatre until 24th October 2026.
★ ★ ★ ★