Review: Pink Confetti, Big Laughs, and Theatrical Magic! This Much Ado Stuns

Jamie Lloyd has finally staged Shakespeare, right!!

★★★★★

You know what they say, “Third time’s a charm,” and it certainly is here. After last year's ill-fated Romeo & Juliet with Tom Holland and The Tempest with Sigourney Weaver, which divided audiences and critics, Lloyd has found his footing in Much Ado About Nothing. This production at the Theatre Royal Drury Lane is a spectacular return to form—proof that Shakespeare’s comedies are where Lloyd’s artistic can truly shine. Instead of forcing a dark, brooding take on the Bard, Lloyd embraces the joy, the chaos, and the sheer fun of one of Shakespeare’s most beloved plays. This is how you do Shakespeare in the modern era: with energy, wit, and, of course, endless pink confetti.

You know you’re in for a treat from the moment you enter the theater. The house buzzes with excitement as upbeat, dance-worthy music pumps through the speakers, setting the tone for an all-out disco-fueled night of revelry. Lloyd’s signature minimalist staging—this time an enormous, almost cavernous emptiness—works brilliantly in contrast with the wild, maximalist energy of the performances. And the confetti? Oh, the confetti! It’s everywhere, a symbol of the riotous, uncontainable spirit of the show. By embracing the natural joy of Much Ado, Lloyd has given us his best Shakespearean production yet.

Of course, no Much Ado would be complete without a sizzling, electric Benedick and Beatrice, and in Tom Hiddleston and Hayley Atwell, we get an onstage chemistry so undeniable it practically crackles in the air. Hiddleston’s Benedick is effortlessly charming, leaning into both the physical comedy and the character’s emotional depth. His monologues feel spontaneous and alive as if he’s discovering his thoughts in real-time, and his timing is impeccable. Atwell’s Beatrice, meanwhile, is a supernova of talent, sharp as a dagger yet brimming with warmth. The two together are pure theatrical magic—bickering, bantering, and ultimately breaking our hearts in the best possible way.

And then there’s Mason Alexander Park as Margaret, the unexpected star of the evening. Given a more prominent role than usual, they serve as the play’s musical heartbeat, seamlessly weaving in and out of the action with mesmerizing vocal performances. As a designated serenader, Park’s voice soars through the theater, a dazzling highlight in an already stunning production. Their presence alongside Hiddleston and Atwell feels utterly essential, proving that even Shakespeare’s supporting roles can shine just as brightly as the leads.

This is Jamie Lloyd finally getting Shakespeare right. No unnecessary gloom, no tortured tragedy—just a thrilling, dynamic, joyous explosion of comedy, romance, and theatrical brilliance. If this production proves anything, it’s that Lloyd should lean into Shakespeare’s comedies rather than his tragedies. If you can get a ticket (and trust me, they’re selling fast), Much Ado About Nothing is the must-see theatrical event of the year. Run, don’t walk—this is a night at the theater you will never forget!

Much Ado About Nothing - Theatre Royal Drury Lane

Attended on 22 February 2025