Shakespeare’s Much Ado About Nothing has arrived at the Sumner Theatre in Melbourne, presented superbly by the Melbourne Theatre Company until December 19th. This marks the first time in 30 years the company has staged a new production of this classic.
Set in the sunny Italian town of Messina, the play follows two romantic pairings with opposing views on love. The young and impulsive Claudio falls instantly for the modest Hero, while the sharp-tongued cynics Benedick and Beatrice engage in a “merry war” of wits, proclaiming they will never marry. While friends conspire to trick the bickering duo into admitting their love, a malicious plot by the villainous Don John threatens to destroy Claudio and Hero’s wedding through slander and deceit.
Upon entering the theatre, the first thing one notices is the staging. To begin with, the facade of Sam Newman’s St Kilda West house—complete with its mural of Pamela Anderson—is center stage, providing the setting for the story. The theatre notes that this design adds a “provocative visual metaphor that deepens the play’s exploration of gender and public perception,” telling us instantly that there will be a modern twist on this 400-year-old show.
Secondly, there are no curtains covering the wings, which means the audience can see the actors changing and the backstage crew running various errands. It makes the space seem huge! This decision removes the separation between the actors and the audience, making the experience feel more informal and intimate.
What stood out most was the ensemble’s command of the language. It is no small feat to marry the high style of Shakespearean verse with the flat, relaxed cadence of the Australian broad accent, yet this cast did so effortlessly. The result was a production that lost none of the poetry’s beauty but gained a great deal of comedic punch and authenticity.
Fayssal Bazzi (whom I recognised from his role in the film The Merger) was excellent as Benedick, pouring his heart and soul into the role, playing it with emotion, humour, and an earnest vulnerability. Alison Bell also starred as Beatrice, delivering just the right amount of emotion, sarcasm, and wit; I found myself on her side for much of the show. Undoubtedly, the crowd favourite was veteran actor Julie Forsyth, who earned the most cheers, laughs, and praise with her many roles throughout the show.
Costume designer Karine Larché leaned fully into a modern aesthetic, trading doublets and hose for military gear, casual streetwear, and the audacious inclusion of budgy smugglers. Her bold visual choices grounded the play in a familiar reality, proving that the story’s wit and romance work just as well in a modern setting as they did in Elizabethan times.
Director Mark Wilson injects a vibrant, contemporary energy into the production, revitalizing the text with dynamic staging and an inspired soundtrack. The musical cues are particularly delightful, ranging from the surf-rock intensity of Dick Dale to the nostalgic nod of the Blue Heelers theme. The action is fast-paced, and the energy never flags from start to finish.
Overall, this was a slick, polished performance which the audience was really engaged with from the opening scene to the final dance. By grounding the play in a familiar Australian setting, the company has created a production that is not only accessible but genuinely hilarious. It is a perfect reminder that, when done right, Shakespeare is as entertaining today as it was 400 years ago.
