Jamie Llyod’s direction of Much Ado about Nothing deals with the complexity of Shakespeare’s timeless comedy, balancing the tragedy that is scarcely missed in the harsh treatment of Beatrice and the joyousness of reunion at the end perfectly. By reimagining the play with a 1990s disco/club twist, Llyod is able to capture a moment of fuchsia exuberance that is infectious, especially paired with the classic hits that intersperse Shakespeare’s verse. Big names, such as Tom Hiddleston and Hayley Atwell, bring this hedonistic world to life. Nothing expresses the sybaritic world of the play more than the stage, which is constantly covered in a layer of vibrant, pink confetti. Not only is this visually effective, but it is also a great comedic device.  

A staple of Shakespeare is playing with who can and can’t hear conversations within the diegetic world, and Much Ado about Nothing is no exception. Towards the middle of the play, Tom, as Benedick, conceals himself in a dramatic flair beneath the piles of confetti, causing much laughter from the audience. This action is increasingly exaggerated to comedic effect, with ridiculous throwing of confetti and hilariously obvious hiding behind a large, inflated heart while the very people Benedick hides from are aware of his presence. The reception of this pivotal scene is testament to the clever use of staging in this production, maximising the dramatic irony that Shakespeare’s plays favour so much.  

Another extremely effective piece of staging can be seen in the party scenes, where the actors are all donned with elaborate headdresses. While interchanging groups of actors take centre stage with their discussions, those not involved perform party scenes in ‘slow motion’ behind, depicting scenes of revelry that slowly descend into a hazy, psychedelic trance as the play hurtles towards tragedy.  

Llyod’s production rejuvenates this classic, making it a must-see show of 2025 before it finishes in April. Simply euphoric.  

Photo Credit: Lilia Colledge