Much Ado About Nothing Review at Shakespeare’s Globe London

Shakespeare’s comedy Much Ado About Nothing, about the romantic trials and tribulations of two couples was written around 1598-99 and published in the First Folio collection of his plays in 1623.

This production at Shakespeare’s Globe, directed by Chelsea Walker, offers a modern take on the story of gossip, intrigue, secrets and lies. At its heart are the characters of Beatrice and Benedick. She has sworn off men but can’t help herself from verbally sparring with him in a “merry war”, their bickering full of wit and humour. Then there’s Benedick’s friend, the noble Claudio, who wants to marry Beatrice’s cousin Hero. Throw in some matchmaking friends and a scheming villain and the scene is set.

This production is visually appealing, with a minimalist white set that’s gradually decorated with white flowers as the action unfolds. It’s simple but stylish. The costumes move from neutral tones to sequinned glamour to dramatic black as the story shifts. They are modern but not jarring – we could be at any country club any time in the last 50 years. The use of animal heads for a masked ball adds a surreal tone as the cast members perform precise choreography that would not be out of place in a 1960s nightclub sequence, all sharp movements and exaggerated poses.

Walker’s direction leans heavily into the comedy, with some set pieces bordering on slapstick. It’s very popular with the audience who roar their approval as Benedick crawls around the stage to avoid detection and Beatrice gets soaked by an over-zealous Housekeeper watering the flowers above her. They’re both hiding in plain sight but seemingly invisible to the people they are eavesdropping on. It should be ridiculous but it works, particularly Benedick’s stylised movement. The dialogue is largely true to the original text but feels modern in its delivery, with contemporary London accents and speech patterns, supported by all the swagger and bravado of street-smart young men and women. Characters jump on and off the stage, hiding and mingling amongst the audience members, drawing them into the action.

A small band switches between classical and modern instruments to provide accompaniment for key moments – a drum beat, rock guitars, strings for a formal occasion – it’s a mix of traditional and modern styles that fits well with the general aesthetic.

The cast is generally strong, with minor characters like Dogberry (Richard Katz) and his sidekick Verges (Os Leanse) making the most of their stage time with great comic timing. Geraldine Alexander has a dramatic impact in the latter stages of the play, with her portrayal of the Sister (a gender-swapped Friar) bringing some gravitas to balance the lighter comedy. And Matilda Bailes has a pivotal moment as Housekeeper Margaret that gives raw, unfiltered emotion.

The stand-out performances come from Pippa Nixon and Ken Nwosu as Beatrice and Benedick, their characters given the lion’s share of the best lines. They have fantastic chemistry whether sparring or serious. Their delivery and intention is always crystal clear, and with both of them offering plenty of presence and charisma, the audience is on side and rooting for them from the start.

The play takes a darker turn in its second act, with the treatment of Hero (Assa Kanouté in an assured professional debut) a stark and unsettling contrast to the bickering and comedy banter that has previously dominated. The “villains” of the piece are a little sidelined by the focus on lighter content with the diabolical scheming that leads to the dramatic climax and then the play’s resolution feeling rather rushed. But we must remember that this is a comedy and not the tragedy it could so easily have become, and its joyful and exuberant ending is an uplifting finish to a slick and entertaining night at the theatre.

Much Ado About Nothing plays at Shakespeare’s Globe until 24 October 2026.

Where I Sat

Seating at the Globe is over three levels of covered galleries. The open-air Courtyard directly in front of the stage is all Standing, as it would have been in Shakespeare’s time. I sat in the Middle Gallery, Bay C, Row B. There are around 30 steps to climb to access this level, via the North Tower. The seat has a good view facing the side of the stage. Two permanent pillars on the stage do restrict the view for very short periods but productions are staged in order to minimise this and most of the action happens in front of the pillars, giving a clear and unrestricted view. Each “Bay” has raked seating on wooden benches. There’s not a huge amount of leg room but it’s adequate. You can hire a cushion to make the bench more comfortable. If you need back support, it’s best to book a seat at the back of a Bay as there is something to lean against.

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Reviewed by Penny Walshe for SeatPlan, June 2026.