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.
8 Reviews
Some truly great performances within but a couple nit-picks...
eringuest-385249 January 2019
Warning: Spoilers
Most of us know the story. It's wonderful and witty even without the powerhouse of Tennant and Tate in the main roles. They are truly magnificent and bring the sparring characters of Benedick and Beatrice to life beautifully. Tate's character acting adds another level of comedy which is rarely seen, however as much as I thoroughly enjoy Tate's comedic talents, I think there were some areas of this play where her role could have used a touch more brevity than was obviously directed. There is history between Beatrice and Benedick and while I personally know the play backwards, a newcomer for whom this may be their first experience would not necessarily pick it up and may actually question why these two might bother getting together at all.
I do have to agree with another review of this particular production, however. The direction for some areas was definitely questionable. It could have definitely done without Tate being suspended from a rope while she listens to Hero and Ursula talking up Benedick. It wasn't necessary and I think had it been treated in the same hilarious way that Tennant's scene as he listens in on the conversation between Claudio, the prince and Leonato, it would have been far more effective. Same again for the scene after Hero has been declared unfaithful and Benedick professes his love to Beatrice. She was just in tears and then shifts the scene into hysterics. It was overdone and jarring, though Tate does pull it right back when Beatrice unleashes her anger on Benedick at his initial refusal to kill Claudio, which is superb.
One bit of direction I loved with the production was Adam James' treatment of Don Pedro's affection toward Beatrice. This was new for me as it's never really been emphasised in the productions I have seen, and I did enjoy the new angle this gave the character of the prince. Lovesick for Beatrice but ultimately not to have her - even at the end we see him a little sad he missed out specifically on Beatrice and was not necessarily in want of just anyone to wife as Benedick advises.
I WISH this would be released on DVD so I could keep a copy of it. Sadly it is only available (at the time of writing) for digital download. It's definitely worth seeking and watching. It's swiftly become my favourite production.
I do have to agree with another review of this particular production, however. The direction for some areas was definitely questionable. It could have definitely done without Tate being suspended from a rope while she listens to Hero and Ursula talking up Benedick. It wasn't necessary and I think had it been treated in the same hilarious way that Tennant's scene as he listens in on the conversation between Claudio, the prince and Leonato, it would have been far more effective. Same again for the scene after Hero has been declared unfaithful and Benedick professes his love to Beatrice. She was just in tears and then shifts the scene into hysterics. It was overdone and jarring, though Tate does pull it right back when Beatrice unleashes her anger on Benedick at his initial refusal to kill Claudio, which is superb.
One bit of direction I loved with the production was Adam James' treatment of Don Pedro's affection toward Beatrice. This was new for me as it's never really been emphasised in the productions I have seen, and I did enjoy the new angle this gave the character of the prince. Lovesick for Beatrice but ultimately not to have her - even at the end we see him a little sad he missed out specifically on Beatrice and was not necessarily in want of just anyone to wife as Benedick advises.
I WISH this would be released on DVD so I could keep a copy of it. Sadly it is only available (at the time of writing) for digital download. It's definitely worth seeking and watching. It's swiftly become my favourite production.
Celeb Shakespeare Comedy
idares5 September 2020
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.
Well worth sighing for
TheLittleSongbird26 February 2021
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
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
Incredibly funny and entertaining
elainapapaya13 May 2020
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.
Not perfect, but incredibly fun, I couldn't help but love it
Ridicully19 January 2022
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.
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.
Really hard to find fault
ktoz29 August 2023
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.
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.
Some great performance but some significant missteps
CarmenEstelle29 September 2018
Warning: Spoilers
"Much Ado About Nothing" shares my top spot of Shakespeare plays with "Henry V" so coupling this sparkling comedy with some of my favourite actors was very eagerly awaited. In some ways I was delighted but in others disappointed.
David Tennant's performance matched up to his wonted high standards and I had no problem with the post-Falklands War Gibraltar update. I thoroughly enjoyed the often overlooked Adam James as Don Pedro who, for me, was the cream of the generally good supporting cast. The music was catchy and perfect for the early 80s setting and the revolving staging created some really interesting exchanges between foreground and background.
Catherine Tate, as expected, played Beatrice's snarky wit incredibly well but there were many occasions when I wanted a little more betrayal of the defensive nature of her wit. These two have history together, as is shown when Beatrice says of losing the heart of Signor Benedick, "Indeed, my lord, he lent it me awhile; and I gave him use for it, a double heart for his single one: marry, once before he won it of me with false dice, therefore your grace may well say I have lost it." Instead sometimes the vocal sparring came across as who could outwit whom purely for the sake of winning but with no deeper meaning.
Given the above I would have rated it 8/10 but there were a few awful missteps by director Josie Rourke which pulled it down for me. The whole piece seemed to be played for farce at the expense of many other considerations. Beatrice overhearing Hero tell of Benedick's love for her was completely overwhelmed by the ridiculous spectacle of Catherine Tate suspended on a rope above the stage! The consequent audience laughter drowned out the dialogue to such an extent that it was impossible to hear what was being said. Later, Beatrice descends into incongruous teenage histrionics over Benedick declared love when only moments ago she was supposedly heartbroken over the public humiliation and ruin of her cousin. Shakespeare plays, regardless of their categorisation, are never just comedies or just tragedies, there's always a little of both in every one - it's what makes them so good - so to have these really jarring comedic inserts into what should have been moments of high drama and pathos serves only to throw off the intended mood of the scene and to cheapen it. And then there is Claudio's attempted suicide! In a production that couldn't get through the "Kill Claudio" scene without introducing juvenile humour this was so out of left field as to be dizzying!
Notwithstanding all of this though, if this production sparks a love for the wonderful body of work of William Shakespeare then I'll forgive the directorial misdemeanours with this proviso: there are better versions of this amazing play (Kenneth Branagh's sumptuous 1993 romp, for example) so go and seek them out!
David Tennant's performance matched up to his wonted high standards and I had no problem with the post-Falklands War Gibraltar update. I thoroughly enjoyed the often overlooked Adam James as Don Pedro who, for me, was the cream of the generally good supporting cast. The music was catchy and perfect for the early 80s setting and the revolving staging created some really interesting exchanges between foreground and background.
Catherine Tate, as expected, played Beatrice's snarky wit incredibly well but there were many occasions when I wanted a little more betrayal of the defensive nature of her wit. These two have history together, as is shown when Beatrice says of losing the heart of Signor Benedick, "Indeed, my lord, he lent it me awhile; and I gave him use for it, a double heart for his single one: marry, once before he won it of me with false dice, therefore your grace may well say I have lost it." Instead sometimes the vocal sparring came across as who could outwit whom purely for the sake of winning but with no deeper meaning.
Given the above I would have rated it 8/10 but there were a few awful missteps by director Josie Rourke which pulled it down for me. The whole piece seemed to be played for farce at the expense of many other considerations. Beatrice overhearing Hero tell of Benedick's love for her was completely overwhelmed by the ridiculous spectacle of Catherine Tate suspended on a rope above the stage! The consequent audience laughter drowned out the dialogue to such an extent that it was impossible to hear what was being said. Later, Beatrice descends into incongruous teenage histrionics over Benedick declared love when only moments ago she was supposedly heartbroken over the public humiliation and ruin of her cousin. Shakespeare plays, regardless of their categorisation, are never just comedies or just tragedies, there's always a little of both in every one - it's what makes them so good - so to have these really jarring comedic inserts into what should have been moments of high drama and pathos serves only to throw off the intended mood of the scene and to cheapen it. And then there is Claudio's attempted suicide! In a production that couldn't get through the "Kill Claudio" scene without introducing juvenile humour this was so out of left field as to be dizzying!
Notwithstanding all of this though, if this production sparks a love for the wonderful body of work of William Shakespeare then I'll forgive the directorial misdemeanours with this proviso: there are better versions of this amazing play (Kenneth Branagh's sumptuous 1993 romp, for example) so go and seek them out!
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