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Melbourne Theatre Company has opened a new production of Much Ado About Nothing, the first time in 30 years the Company has staged this Shakespeare favourite. Directed by Mark Wilson, this contemporary take blends classic text with modern design, physical comedy and a bold visual style.
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This production of Much Ado About Nothing aims to bring the story into a current setting, highlighting how themes of trust, misunderstanding, reputation and gender dynamics remain relevant. The direction is fast-paced, with plenty of comedic moments and sharp dialogue.
While the production has a distinctly modern edge, the Early Modern English can still be a hurdle for younger audiences. The cast’s strong physical performances and accurate timing make the story easy to follow overall, but some moments may take a bit more focus for anyone new to Shakespeare.

The cast delivers engaging and well-balanced performances throughout the production. Alison Bell (Beatrice) brings confidence, humour and a strong presence to the stage. Fayssal Bazzi (Benedick) brings the character’s playful energy to the role, adding wit and charm to the production.
Miela Anich (Hero) offers a thoughtful, grounded performance that brings sincerity to the story’s more dramatic moments. Julie Forsyth (Ursula) is a standout, regularly stealing scenes with her precise comic timing. Chanella Macri (Margaret) brings vibrant energy and well-timed humour to her scenes.
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One of the most notable features is the set design by Anna Cordingley, inspired by St Kilda’s well-known Newman House. The two-storey façade sits at the centre of the stage, providing a strong visual backdrop, while the bright blue floor adds a touch of contrast to the production’s stylised world.
Director Mark Wilson opted for an open stage, removing the wings (the offstage areas at the sides) so the audience could see costume changes and scene transitions. While this fits the production’s contemporary style, I wasn’t entirely sure about it.
Karine Larché’s costumes mix modern clothing with hints of Shakespearean style, while Katie Sfetkidis’ lighting and Joe Paradise Lui’s sound design help bring the story’s shifts in mood and emotion to life.

The production captures both the humour and tension of the play. The comedic scenes include slapstick elements that land well with the audience, while the more dramatic moments, especially around the accusations against Hero, still carry weight. The two love stories at the centre of the play unfold with moments of misunderstanding, manipulation and reconciliation
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I liked the contemporary approach to the production. The cast is strong, and the comedic moments help keep the story moving.
Overall, the performances, set, and energy make it worth seeing, especially for anyone interested in a modern take on Shakespeare.
Running time: 2 hours 30 minutes, including a 20-minute interval
Recommended age: 15+
Content warning: Mature themes, sexual references, depictions of violence, dynamic sound and flashing lights
Date: until 19 December 2025
Venue: Southbank Theatre, The Sumner

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