Review: Much Ado About Nothing, Arches Lane Theatre

I had rather hear my dog bark at a crow than a man swear he loves me – but I would gladly hear more of last night’s Much Ado About Nothing. Brought to the atmospheric Arches Lane Theatre by Far Between Theatre and adapted by the play’s very own star-crossed heroine, Maira Vandiver, this production reimagines Shakespeare’s comedy within a sultry 1920s Brooklyn speakeasy, Messina. Playful, enchanting and full of life, its queer lens and glittering cast both honour the charm of Shakespeare whilst making it feel accessible and ever-relevant – offering a vision for the future of classical theatre. 

What truly sets the production apart is its treasure trove of performers involved. Each of the vibrant fifteen, skilfully directed by Kay Brattan, brings something distinctive, committing wholeheartedly to the portrayal of each character and making none of the roles feel superfluous. Vandiver is an absolutely irresistible Beatrice, a performance that is both captivating and nuanced, balancing emotional depth with the famously sharp wit of Shakespeare’s leading lady. Jaelon Love perfectly captures the softness of Hero whilst reclaiming her agency, displaying how femininity need not come at the expense of strength. Together, they exist as complimentary portraits of gender expression, power and vulnerability, a dynamic pairing that you can’t help but root for. Brendan Peloubet is equally magnetic as Benedick, embodying the delicious push-and-pull of the enemies-to-lovers trope with Vandiver. Finn Harkin’s Claudio balances earnest, boyish sincerity with a frustrating impulsiveness, allowing his actions to land with full weight rather than dismissal. All of these performances feel recognisable in today’s world, even with the production utilising the majority of the play’s original text.

The sensory world of Much Ado About Nothing adds an extra layer of glamour and allure. Saffron Booker and Marianne Vandiver’s costumes are not only stunning but also deepen our understanding of each character, becoming another clever way to explore gender and status. Carl Maslowski’s visual design completely immerses us, wonderfully capturing the aesthetic of the speakeasy that stands out against the traditional Italian island location. The set pieces, underneath the atmospheric lighting of Ciara Moss, are striking and rich with detail, enhancing the action rather than ever hindering it. Alongside cast members playing piano and saxophone throughout, as well as endearingly choreographed dancing, it’s impossible not to feel as though you really have been transported to a night out in 1920s Brooklyn – making us even more invested in the drama that unfolds in Messina. 

Some cupid kills with arrows, some with traps… and Far Between Theatre’s Much Ado About Nothing does both in a production that is as sharp as it is joyful. Through outstanding performances, atmospheric design, and clever script adaptation, the production tantalisingly captures the mischief, charm and emotional complexity of a much-loved classic whilst encouraging its commentary on gender, power and desire to speak to present-day audiences. I look forward to seeing what this talented company breathes magic into next! 

Cast: Maira Vandiver, Brendan Peloubet, Jaelon Love, Finn Harkin, Oihane Rodríguez, Eva Voss, Ian Chapman Black, Medi Persis, Song Marshall, Noel Prasad, Oliver Lyndon, Jack Tivey, Catty Tucker, Molly Wolff, Audrey Parry

Director: Kay Brattan
Producer: Far Between Theatre
Dramaturg: Maira Vandiver
Stage Manager: Harri Compton
Assistant Producer: Lindsay Menzies
Costume Designers: Saffron Booker, Marianne Vandiver
Visual Designers: Carl Maslowski
Lighting Designer: Ciara Moss
Music Director/Composer: Catty Tucker
Vocal Coach: Zoe Zimin-Ho
Movement Coach: Maya Adams

Much Ado About Nothing plays at Arches Lane Theatre until Saturday 4 April.