The title is a curious one and actually did confuse me before sitting down to watch the production. One would actually think that it would be a production of a secretly re-discovered lost play attributed to Shakespeare, there was one such play and with that title. That didn't make sense to me as it would have been very big news if the case. It actually turned out to be a production of one of my absolute favourites from Shakespeare 'Much Ado About Nothing'.
And a brilliant production it is too. Royal Shakespeare Company's filmed live performances in recent years have varied in quality in my view, there are some truly fine ones that are faithful but also have their own identity. But there are also some that either play it too safe or conventionally or try too hard to appeal to what is perceived as wider audiences by being too reliant on conceits (gender reversals mainly, which varied wildly in success) or settings that didn't gel and jarred. This production is one of the finest examples of the former.
Production values are simply beautiful and always in good taste, the Autumn 1918 setting not jarring at all with the drama. And as the setting in 'Much Ado About Nothing' is not as specific as other Shakespeare plays, there is more leeway to place it in a different non-traditional setting. The photography is intimate but expansive enough to avoid the action from being claustrophobic.
Have always admired the work of Nigel Hess since his sublime score for 'Ladies in Lavender' and he provides a sumptuous and spirited music score that fits beautifully. The Noel Coward-inspired songs were a nice touch too and didn't feel out of place.
Moreover the comedy is genuinely hilarious, especially when Benedick overhears Beatrice's profession of love (one of the highlights of the play in the first place). Like all Shakespeare plays with a lot of comedy, 'Much Ado About Nothing' has a lot of heart in particularly the latter stages and that heart is far from forgotten in this production for the dramatic moments, that were quite moving. These two elements were handled brilliantly individually and gel beautifully together.
The pace is exuberant throughout and there is plenty of freshness without being touches that go against the wonderful text (which absolutely sings in the best possible way). The character interaction is spot on, especially the hilarious love-hate one being Beatrice and Benedick. Beatrice's cutting wit never gets old with this play and comes over here in a way that is enormously funny.
Edward Bennett and Michelle Terry were clearly thoroughly enjoying themselves, Benedick and Beatrice are the two most interesting characters with the meatiest material and the most important ones to nail and the production clearly knew that and embraced it to the heavens. Nick Haverson is a riot as Dogberry, a character that can be overacted but not here. Claudio (a difficult character to make interesting or likeable) and Hero are charming and Don John is suitably vile. Basically the casting is pretty much note perfect.
In conclusion, an absolute joy. 10/10.
