Much Ado About Nothing, Theatre Royal Drury Lane - Tom Hiddleston and Hayley Atwell soar leading a riotously funny cast, but Jamie Lloyd’s vision leaves me wanting more

Cast of Much Ado About Nothing, led by Hayley Atwell and Tom Hiddleston. Image by Marc Brenner.

⭑ ⭑ ⭑ ⭑ - 75% • 4 minutes 25 seconds read time

In a word, Jamie Lloyd’s Much Ado About Nothing is a blast. It’s a riot of pink confetti, sharp wit, and infectious energy, packed with playful asides, lively dancing, and a real sense of fun. This is Much Ado as a party, leaning into the comedy and romance with a knowing wink to the audience. At its heart is a phenomenal cast who bring Shakespeare’s text to life with clarity and charm, making even the trickiest language feel effortless to follow. There are some creative choices that may divide opinion, but with this much joy on stage, it’s hard not to get swept up in the fun.

The heart of the play - and this production - lies in its leads. Tom Hiddleston and Hayley Atwell are both seasoned Shakespeareans, and it shows. There’s a certain euphoria in watching actors who not only understand every nuance of the text but can deliver it in a way that makes it feel totally accessible. Let’s not shy away from it - Shakespeare’s language can be a challenge. But in the right hands, it becomes a roadmap rather than an obstacle, guiding the audience through every joke, every moment of tension, every heartbreak. Hiddleston and Atwell have that rare ability, ensuring that even those with no prior knowledge of the play can follow every beat. They also benefit from a genuine, infectious chemistry that comes from being longtime friends and colleagues. That cheeky, playful chemistry is the essential ingredient for a convincing Beatrice and Benedick, whose love-hate dynamic forms the backbone of the piece. The sharpness of their exchanges, the warmth that bubbles beneath the surface, and the sheer fun they have with each other make them an absolute delight to watch.

Hayley Atwell’s Beatrice is a force - sharp, fiery, and deeply resonant. Despite being written nearly 500 years ago, Beatrice’s words on patriarchy and misogyny feel as though they could have been penned yesterday. She speaks to the way men glide through life, making bold, baseless claims with unquestioned confidence, while women bear the consequences of their arrogance and mistakes. Atwell leans into this with a performance full of resilience and quiet defiance, making it clear that Beatrice’s resistance to love is not mere stubbornness, but a form of self-preservation in a world that so easily mistreats and disregards women. It’s a striking, powerful, and yet still deeply humorous portrayal of the character - one that feels more relevant than ever, and may well be my favourite interpretation of my favourite literary woman.

Stealing scenes whenever they appear, Mason Alexander Park is totally mesmerising. Taking on the role of Margaret, they bring a sharp, charismatic presence to the character, but their impact extends beyond the traditional text. Much Ado is often considered the original romcom, and this production plays with some of the stylistic choices we are used to seeing in the films of that genre. It introduces a musical through-line, with Park acting as a kind of narrator, using song to underscore the unfolding love story. They deliver the vocals with clear quality, but more than that, they play with the material. They have what can only be described as the “X Factor” - charm, wit, and an effortless star quality that makes their performance one of the standouts of the night.

The physical comedy is another highlight, with Hiddleston particularly excelling in this area. His Benedick, trying desperately to eavesdrop on a conversation about himself, transforms into something between an SAS soldier on a stealth mission and a child playing an elaborate game of hide and seek that leaves the audience gasping with laughter. Mara Huf and James Phoon as Hero and Claudio also impress, proving themselves adept at the physically comedic elements of the piece.

However, not all creative decisions land quite as well for me. The choice to cut Dogberry, for example, feels like a misstep. Traditionally, Dogberry serves as the play’s comic relief - an incompetent constable who inadvertently ends up solving the play’s central conflict. While he is often played as a figure of bumbling absurdity, there’s something in the character that still resonates today: a man so convinced of his own authority and intelligence that he causes more problems than he solves. In a time when conversations around authority figures abusing their power (often through sheer incompetence) are more relevant than ever, Dogberry’s absence feels like a missed opportunity rather than a necessary streamlining.

And then there’s the matter of Jamie Lloyd’s signature aesthetic. While the production is more visually playful than some of his previous work (mountains of pink confetti certainly make an impression), it’s still undeniably minimalist. A few school chairs, what appears to be a trestle table, and not much else - these are becoming familiar elements in Lloyd’s productions. The garage door at the back of the Theatre Royal only obscured temporarily by a giant pink heart. I’ve been seeing Jamie Lloyd’s productions for over 5 years now, and after several years the approach no longer feels fresh. A distinctive style is one thing, but when it begins to feel repetitive, it raises the question of whether it is still an artistic choice or simply a creative limitation. For a show where ticket prices stretch into the hundreds, it’s not unreasonable to expect a little more than a largely empty stage, and a big name stood on it.

That said, when the performances are this strong, the shortcomings of the production itself become easier to overlook. If judged purely on entertainment, this would be a five-star experience - I booked to see it again less than half an hour after it finished, which says a lot. But a great production should be more than just the sum of its cast, and I’m not convinced these creative choices would have held up without this particular ensemble. Much Ado About Nothing succeeds because it has two of Britain’s finest actors at its helm, supported by a stellar company. Whether that’s enough depends on what you’re looking for. If it’s a masterclass in Shakespearean performance, you’ll find it here. If it’s a fully realised and innovative production, with a directors vision that’s clearer than simply the colour pink you might leave wanting just a little more. But even if you do, I still think you’ll leave having had a lot of fun.

Much Ado About Nothing is running at the Theatre Royal Drury Lane until April 5th. Tickets available here.