Well this is Shakespeare, or rather this is the adaptation of Shakespeare into a contemporary setting. The adaptors Madeleine and executive producer Hal acknowledged the direct intention to change the theme of valiantly returning from the war. The Lords in this version are rather returning valiant Boy Band members known as LORDS.

The location was a cafe bar disco venue. Black and white chess board flooring bar and stools, table and chairs. Against the wall opposite the audience a photo booth. The venue is set for fun, shimmer and disco. Perhaps deliberately it is now no longer Much Ado About Nothing, now made only Much Ado. I am not sure if this was a mark of respect to the alterations made to the original, or just made now Much Ado full stop.

I commend in particular the player Hal Jones, bringing to life the Beatrice character, at times and inconsistently applied our hero/heroine is described as they/them and is somewhat alternately and respectfully represented in drag makeup and boys’ clothes. She is nonetheless a firecracker in the role. Over the top yet unstoppable in their reaction to love, life and independence.

I thought overall the director Madeleine Withington had made some terrific decisions to engage the contemporary audience. Enjoying the direct address and fast paced interplay banter, and dashings in and out of the photo booth and under the tables, the characters are full of verve and fun. Not least the opening ‘number’ or rendition of the “Lords” performance in concert. We find them dressed in the pastels of the soft song boy group. Well done to the design team of Ash Bell well supported by Jenna Bell. The opening number was fun and the lip syncing along with much posturing celebrated the “look” indeed.

Beatrice and Benedick have sworn off love. I might add here, the contrivance that the friends pretend that they do not know their peer is in hearing, in order to determine that the gossip of the other loving them deeply and truly hits its mark, is forced. It was always a stretch, even in the original. The director attempts, with a little too much fervour, to find humorous, the determination in Benedick’s and Beatrice’s attempts to know all and hear all. They are funny scenes even in their ridiculousness. She is trying too hard to make them funny and these moments were a disappointment, for not trusting the play itself.

The play is long and the night became even longer when the smoke alarms (reacting to the hazers/fog machines) went off throughout interval in their piercing tones and made overlong the break and the whole night. The better trick than any unnecessary fog was the much-used device of the party photo booth to hide both party people and then the ulterior motive of the supposed ‘naughty’ Hero with another lover before being wed to Claudio. 

I commend the company’s eager invention and commitment to the playfulness potential of the play. This play in the original is rife with sexism. The gender mix matches do nothing to address such inequity. I fear this might undermine all our players as not better than a boy band, and as the company noted in the program – who doesn’t love a boy band? This again, from the program “don’t look for too much meaning here. You won’t find it. The meaning is found in shedding grief and anxiety for an evening”. I tend to agree that should be enough.

The show is an Attractive, Not Model Attractive production and is worth supporting. It is playing the Flight Path Theatre, 142 Addison Road, Marrickville until 12th August, 2022.  

Review by Elizabeth Surbey