User reviews

I absolutely love Much Ado About Nothing, it is one of my favorite Shakespeare works, and this cast does it so well. Both David Tennant and Catherine Tate play their parts perfectly. They bring great cynicism and sarcasm, over the top humor, and some very touching moments, all in one package. David and Catherine not only do this well individually, but even more so when they play off of each other. While the two are clearly the stars of the show, the other actors definitely don't disappoint. I'm particularly fond of Elliot Levey as Don John. He does a great job of bringing that character's mischievous qualities to life. Modern clothing and some creative diversions from the script might not please some Shakespeare fans, but I personally found it to really add to the humor of the show. All of my favorite scenes are so much more entertaining because of what happens off script. I definitely recommend purchasing this from Digital Theatre.

It's hard to go wrong with Much Ado About Nothing. This version uses the strengths of its celebrity stars David Tennant and Catherine Tate to whip up the eternal love-hate story of Beatrice and Benedick. Tate is sharp-tongued. Tennant is his peculiar brand of arrogant, handsome, and dorky. The slapstick gags alone are worth a watch, and the 80s costumes of the masquerade scene gave a cute twist in the midst of the action. Tom Bateman looks - distractingly- a bit like a young Marlon Brando as Claudio. Well worth a watch or two.

Ever since having fond memories of studying it in school, 'Much Ado About Nothing' became one of my favourites of Shakespeare's plays. Love everything about it, though it is very difficult to make Hero and Claudio interesting, because there is so much fun and charm, particularly great characters in Beatrice and Benedick, a story that never lets up on the entertainment value and Shakespeare's text is some of his loveliest and most amusing.

Did have initial doubts before seeing this production of 'Much Ado About Nothing'. Not with David Tennant, who is no stranger to Shakespeare and has a real understanding of his style and characters, evident in his very memorable interpretations of Hamlet and Richard II (both for the Royal Shakespeare Company). But namely because of seeing 'Much Ado About Nothing' in modern dress, before reminding myself that there are many effective non-traditional Shakespeare productions, and whether Catherine Tate would be well suited to Beatrice. Seeing it, this was a very pleasant surprise and a very good production, a few staging missteps but with wonderful performances.

Visually the production was a lot more appealing and less distracting than expected. Really did think that setting the action in 1980s Gibraltar would not work and would jar with the words and have seen too many updated productions of opera and theatre where the costumes especially look cheap and too much of a mish-mash. The setting actually was quite striking with very effective use of the pillars. The costumes are also very vibrant without being cheap and fit the 80s setting authentically. The music is also effective and fits the setting just as well without being constant or overbearing. There is some nice photography too that is intimate enough while also opening up the action just about enough.

Josie Rourke on the most part does a very confident directing job, everything moves along at a cracking pace and there is nothing here that affects any cohesion. The staging especially shines in the comedic moments, of which there are plenty of in 'Much Ado About Nothing', comedic moments are that crackle and sparkle in wit and don't feel overplayed or strained. Underneath all the comedy, there is also a big amount of heart and affectingly done without again being too overwrought (apart from one point).

All the performances pretty much are wonderful, with the high point being Tennant as Benedick. On top of being very funny, he is also arrogant yet also loyal and believable too in Benedick's want for justice later on. Apart from one scene, Tate excels and provides a shrewish and witty Beatrice while also giving her heart. Their chemistry absolutely scintillates, both absolutely relishing the verbal sparring. Adam James' Don Pedro is another standout, benevolent, noble and at times scheming (though never in a malicious sense). Sarah McRae's Hero is radiant and Tom Bateman manages the very difficult feat of making Claudio interesting and likeable. Elliot Levey is a subtly sinister Don John and the Night Watch are not too overacted.

Not everything is perfect. While liking the direction on the whole, a few touches are very overdone and completely out of place, one also being very randomly introduced. Ones that have been mentioned already, also didn't see the point to the gender swapping in the masque scene.

While Tate is hugely impressive as Beatrice on the whole as said, she doesn't quite work in her big dramatic scene with Tennant. Her emotions here became too histrionic.

Overall, very good and worth sighing for. 8/10

This is great. I don't know much about Shakespeare, but it was a legitimately enjoyable experience just to watch. I laughed so hard, I missed the dialogue and had to rewind at some points! The acting was great, the rotating stage was cool - I was fully entertained. And yeah, if you're into Shakespeare, you might have some issues with their interpretation, but for a casual viewer, it was excellent! Definitely worth a watch.

This is the third filmed Much Ado About Nothing I've seen, and I have to say I enjoyed all three more or less equally. All of them had some parts that didn't work for me and some excellent parts that became my particular favourites.

Turns out this one has delivered my favourite don Pedro and Benedick. I thought Adam James brought extra nuance, warmth and a certain sense of melancholy to his part - of course in addition to sense of fun. I also felt that he had amazing rapport with Benedick and Beatrice, interactions with these two stood out to me chemistry wise. He was fine with others as well, but not as sparkly (this might have also been determined by how the play itself was written, I'm not sure). Actually, he was probably my favourite in the first part, in the second part Benedick unquestionably took over.

As for Benedick, I just loved David Tennant in this role. Not gonna lie, I went to seek out this version because of him, and he didn't disappoint in the slightest. In fact, this part probably turned me into a proper fan. I wanted to check out his Shakespeare work after watching the latest Around the World in 80 Days - can't say I loved this adaptation as a whole, but I was incredibly impressed with his Phileas Fogg. I thought that despite a rather weak script and clunky lines he managed to portray an almost Shakespearean character, so incredibly nuanced and powerful that I just wanted to see more of him (I've seen and liked him in other stuff before but somehow never bothered to look into his work properly). His Benedick is a delight - fun, dumb, almost innocent at times, infuriating, moving, capable of baring his soul, empathising and admitting responsibility etc. And all in a very nuanced yet seamless and natural way. A very charismatic performance.

Have to admit, I never liked Branagh as Benedick much - he and ET had amazing chemistry, but on his own as Benedick he lacked certain charm and lightness for me, he didn't soar, everything about him felt a bit heavy-handed. Denisoff in Whedon's film was more cerebral than usual, I liked that he was different, but no wings in sight as well. Tennant had all that and more, I think he'll remain my favourite.

I also want to praise Tennant's diction. As not a native English speaker I was worried about watching Shakespeare undubbed (never done this before), but I had absolutely no trouble following his lines, despite his rather strong Scottish accent, I rarely even had to check the subs. I amazed myself with that, lol.

I wasn't quite as impressed with Catherine Tate, at least not always. The way she delivered her lines sometimes felt like she was reciting a lesson in school (not always, but on occasion) and I had to check the subtitles quite often. I saw some people weren't enthused with her dangling act, and I have to agree. Of course it was the director's decision, but I felt that Tate's acting in that scene didn't help as well - too one-note and broad. I think I understand the idea - to play it more circus-like, but to me it felt way too long and stopped being even slightly amusing in about a minute. Well, you can't catch them all.

I loved CT's scene with don Pedro during the ball and all her scenes with Benedick (I see some criticised her acting in the declaration scene, but I thought her going from hysterical to giddy to almost awed was perfectly natural, I bought it, the "eat his heart" monologue was also well done, imo). She did pretty well with comedic scenes in general (except for the dangling bit).

I haven't seen a lot of Doctor Who, but I remember watching a couple of episodes when Tennant's Doctor was paired with Tate, and I thought they sparkled together. Their chemistry here was also pretty great, though a bit different. It wasn't more sexually charged (I don't really think it's a necessity in Much Ado, sorry, the sense of play and genuine affinity between them is way more important), but it sparkled nonetheless. That said, to me it seemed that CT played practically the same character as she did in Doctor Who, as little as I've seen of it, while Tennant played Benedick as a different character. Can't help but wish she tried to go in a bit of a different direction with Beatrice as well, I don't think their chemistry would've suffered as Tennant seems like a very accommodating, elastic sort of actor, but overall the play would've gained more nuance and balance. Emma Thompson stays as my favourite Beatrice, but I still liked Tate's take, she didn't spoil anything for me (I'm stating it specifically as I feel that this part is the lynchpin - uninspired Beatrice would kill the whole play dead).

In fact no one here spoiled this interpretation for me, everyone else was from good to all right. I doubt anyone ever unseats Nathan Fillion from Whedon's Much Ado as my favourite Dogberry (with Tom Lenk's Verges) - in fact, the only Dogberry I properly enjoyed, who's shown me this character can actually be an asset in the play all on his own. Sorry, wasn't a fan of Keaton's take (and I like the actor). This Dogberry was all right, and I actually loved his last scene, it was well done.

Don John was properly sinister without much of a reason and socially ill adjusted (not a blight on the whole production like sweet Keanu, God bless him), the actor did as well as he could in this thankless part. My favourite Leonato also comes from the Whedon's film (Clark Gregg), but this one was OK. Claudio was a proper doofus with underdeveloped teen sensibilities, I liked RSL in the Branagh film better, but again, not bad at all. Imelda Staunton is still the best Margaret.

As production and direction go (in my judgement as a "naive reader"), I quite liked the setting, stage design and all the costumes, as well as music. I thought it was well thought out and merged together for the most part, and had a unique style. I think I liked most of the directorial decisions (except for that unfortunate dangling of course): how the ball was done, that keyboard thingy Benedick played, the paint panto, the chairs in church, can't think of anything I really disliked. I am also a fan of "the boy" and his different appearances, how he was used throughout the play.

Overall, this production left an aftertaste of something light and fresh, a little bitter-sweet (like the play itself). It wasn't perfect, but it was fun, at times moving, VERY enjoyable, and I will certainly rewatch it more than once.

This is a wonderful production and it's really hard to find fault with it - except that, as in just about any production, the energy flags a little when Benedict and Beatrice aren't on stage (or screen).

That's not to cast any aspersions on the supporting cast - they're all fine, but Tate and Tennant are simply luminous as the wit-cracking hate-to-love couple and the writing (sorry Will) isn't nearly as good for any of the other characters. But Beatrice and Benedict have some of Shakespeare's finest comedy writing and Tate and Tennant deliver it with panache and occasional moments of clumsy; shamefaced tenderness. It's very very funny and quite simply a delight.