The Stage

Much Ado About Nothing

Published Friday 26 June 2009 at 12:55 by Jonathan Lovett

Do not be fooled by claims you’ll be thrust into the champagne-sodden world of liberated, post-war France. Apart from a little bunting and a few cafe-style tables, the directors seem less inspired by Jacques Tati and more by Branagh’s 1993 film, with lots of singing and dancing and little attempt at invention.

Unfortunately, there is also a wit bypass as Risebero and Horslen seem content that we’ll be transfixed by the setting - a beautiful Victorian church, which must make for one of the most atmospheric theatres in London. And, for the first few minutes, as the gloaming penetrates the stained glass windows, the mood does chime perfectly with the languid air of one of Shakespeare’s sunniest comedies, as maidens arrange flowers and men reflect and drink wine. But then the action starts and there is subsequently little to match a promising start, apart from an excellent exchange in Act II between a despairing Leonato (Robert French) and his wailing daughter, Hero (Bethany Minelle).

As the famous lovers, Beatrice and Benedick, Anouke Brook and Ashley Cook fail to find the necessary snap and crackle, while Brook must have lessons in projection otherwise she’s doomed to be upstaged by Minelle and the beatific setting.