Shakespearean comedy is notoriously tricky – what tickled Elizabethan ribs doesn’t always land with today’s audience. But the RSC’s bold production of Much Ado About Nothing kicks tradition into touch, with its high-octane romp through the scandal-strewn world of modern football. Think Ted Lasso meets the Bard.
Beatrice and Benedick trade barbs in a villa fit for football royalty.
Directed by Michael Longhurst, this Much Ado swaps swords for selfies and castles for clubhouses, placing the action firmly in the champagne-fuelled aftermath of Messina FC’s European Cup win. The action unfolds in a sun-drenched luxury villa, where rising football star Claudio (Daniel Adeosun) falls for Hero (Eleanor Worthington-Cox), daughter of club owner Leonato (Peter Forbes). A whirlwind wedding is arranged, but behind the celebrations lurks Don John (Nojan Khazai), who sets out to wreck the romance by planting rumours of Hero’s infidelity.
Meanwhile, team captain and confirmed bachelor Benedick (Nick Blood) is locked in a battle of wits with sharp-tongued sports broadcaster Beatrice (Freema Agyeman). Their blossoming relationship is nudged along by a playful matchmaking scheme. With love, lies and locker-room gossip swirling like post-match punditry, their tangled plot plays out with a darkly relevant commentary on social media, scandal and toxic fame.
From sharp-tongued Beatrice to silenced Hero, the women steal the spotlight.
The moment you step into the theatre, you’re pitch-side. Wraparound screens display live scores, scrolling themed banners and sponsorships that immerse you in a constant data stream. Jon Bausor’s set and costume design nails the OTT glamour of modern football culture. Forget codpieces and corsets – this production is drenched in sun and swagger.
The action takes place in a palatial, palm-fringed villa dripping in bling: Versace cushions, iPhones at the ready, and enough sunglasses, espressos and acrylics to rival a WAG brunch. A shimmering circular pool doubles as a hot tub for towel-clad players, while a slick, elevated stage section offers a voyeuristic peek into their bedroom antics. The bull mascot and horned motifs cleverly nod to Shakespeare’s original metaphors about cuckoldry and masculinity, but there’s nothing subtle on display here. This is a bold, brash production that revels in its modern setting, yet never loses touch with the original text’s emotional core.
A whirlwind wedding turns sour as scandal crashes the celebration.
One of the most powerful updates is Hero’s public shaming. Rather than simply being accused of betrayal, she’s vilified through viral footage, forcing audiences to confront the darker side of our always-online world. Her silence in the face of this modern mob justice echoes Shakespeare’s themes of female voicelessness – only now, it’s chillingly familiar.
But don’t worry, there’s still plenty to laugh at. From slapstick massages and misfired sound systems (cue Milkshake by Kelis) to painfully awkward serenades of Murder on the Dancefloor, this Much Ado layers physical comedy with clever callbacks to 2000s rom-coms and wedding DJ disasters.
Hero’s heartbreak goes viral in a chillingly modern twist.
In the hands of Longhurst and this talented cast, this is no museum piece. It’s relevant, raucous and riotously fun. Shakespeare with studs on its boots and a story that scores with a brand-new crowd.
