'Much Ado About Nothing' review — the Marvel-ous Tom Hiddleston and Hayley Atwell lead a big-hearted, disco-tastic party

Read our review of Jamie Lloyd's revival of Shakespeare romcom Much Ado About Nothing, now in performances at the Theatre Royal Drury Lane to 5 April.

“Man is a giddy thing” sums up newly lovestruck Benedick at the end of Shakespeare’s luscious romcom, and so too is Jamie Lloyd’s riotous Barbie-pink, disco-tastic, gleefully goofy revival, led by the Marvel-ous pair of Tom Hiddleston and Hayley Atwell. The venerable Theatre Royal Drury Lane has become the hottest club in town.

Lloyd ruthlessly streamlines his modern-dress take for a cast of just 10. The war framing is gone, so too are characters like Leonato’s brother, and, joy of joys, the entire unfunny Dogberry/night watch subplot. The focus is entirely on the paramours: Claudio’s sweet wooing of fellow innocent Hero (later soured), and the hugely satisfying enemies-to-lovers journey for sworn bachelors Benedick and Beatrice.

The latter has of course spawned an entire genre, but that doesn’t make it any less pleasurable to see all the familiar tropes. They definitely hate each other, except they can’t stop talking about one another, and even though their relentless bickering is usually in jest, only they can actually wound one another with some unwelcome home truths. Long-time friends Hiddleston and Atwell turn these ingredients into a full-on banquet of both blissful comedy and ecstatic romance.

A very game Hiddleston leans into the hamminess of the posturing Benedick, from his rock-star entrance amid a cloud of dry ice to his eyebrow-waggling audience flirtation (“I am loved of all ladies” indeed), madcap dad-dancing, or teasing of a buff chest by undoing his shirt buttons. The gulling scene is a total blast as he hides, unsuccessfully, in pink confetti, and even does a confetti spit take. Yet his eventual confession of love is stirringly sincere.

Atwell also handles that tonal balance with incredible aplomb. Her Beatrice is a quick-witted, passionate, uncompromising force of nature, but she is capable of profound stillness too. Her reference to Benedick’s betrayal – he once won her heart “with false dice” – comes with a sharp intake of breath that conjures a whole painful backstory. When she realises that he now loves her, and that she might be able to open herself up again, Atwell conjures the most extraordinary sense of wonder as she simply walks down the stage.

It’s always a challenge to switch into the darker second half of the play, with its horrific jilting at the altar, and the excision of Dogberry means we yo-yo between potential tragedy and redemption even faster than normal. But sheer passion carries us through.

James Phoon effectively demonstrates the cruel side of Claudio’s Tiggerish impetuousness, Mara Huf brings a welcome ferocity to the wronged Hero, and Forbes Masson is excellent as the incandescent Leonato, who, horrifyingly, would rather see his daughter die than live in shame. Atwell also lends remarkable force to Beatrice’s outrage that the noble men are seemingly protecting their own. “Manhood is melted into curtsies” she spits at Benedick when he hesitates over challenging Claudio.

Gerald Kyd delicately imbues his jocular Don Pedro with melancholy; he’s truly wounded by Beatrice’s rejection. Tim Steed puts a wonderfully fresh spin on Don John, turning him into a fey, waspish villain with a self-conscious evil laugh, while Mason Alexander Park unleashes their magnificent singing voice on a banging playlist of ’90s pop songs.

Soutra Gilmour supplies spangly jumpsuits, oversized animal masks and a giant inflatable heart. Jon Clark’s lighting plunges us into the D-I-S-C-O, as do Fabian Aloise’s uproarious moves: who ever thought we’d see the sprinkler on the Drury Lane stage?

Just as he did with Nicole Scherzinger in Sunset Boulevard, Lloyd has some winking fun with Hiddleston and Atwell’s public personas – in this case via expertly deployed cardboard cut-outs of their Marvel characters. But more importantly, whether Shakespeare buff or MCU superfan, he welcomes all-comers to a big-hearted, high-spirited, totally fabulous party.

Much Ado About Nothing is at the Theatre Royal Drury Lane to 5 April.

Photo credit: Much Ado About Nothing (Photos by Marc Brenner)