On the set of a 1940s Hollywood film, the play evolves. Designed by Ceci Calf, the bare set has some film lights and flats stacked at the side. At the back is a huge screen through which we see occasional snatches of scenes.

Beatrice and Benedick are the big stars of the film: Beatrice aloof and imperious, Benedick pompous and with a high opinion of himself, and both at odds with each other – on the surface.

Don Pedro has recently defeated his half-sister Don John and they return to Messina, governed by Leonato. Benedick and Claudio are Don Pedro’s companions and Claudio falls in love with Hero, Leonato’s daughter. The two main plots relate to the on-off relationships between Claudio and Hero, and Beatrice and Benedick.

Benedick (James Mack) is a bit of a buffoon, which he plays to perfection. Don Pedro (Jack Quarton), Claudio (Fred Double) and Leonato (Patrick Bridgman) con him into believing that Beatrice (Katherine Jack) is madly in love with him and in a separate scene Hero (Thuliswa Magwaza) and her servant Margaret (Priscille Grace) con Beatrice that Benedick is crazy about her. In the original play, Benedick and Beatrice are hidden while this is going on, but here each of them is present in the scene although ostensibly invisible. This takes a bit of getting used to but leads to some extremely funny slapstick humour.

There was a strong and hilarious performance from Hayden Wood as a scene shifter in the first half and Dogberry in the second. At the end of the interval, he and his sidekick Leigh Quinn as Verges made a brilliant pair as they roped in some of the audience for action later. I’d have liked to see Verges with him again in the court scene, but this wasn’t possible with Quinn also playing Conrade (in the dock) and the Friar; very different characters and very well distinguished. Augustina Seymour was suitably creepy as Don John.

As we have come to expect from the Watermill Ensemble, there was music: 1940s style, with beautiful singing from Priscille Grace.

Tom Wentworth’s adaptation of the play works very well, but I felt that Don John’s and Conrade’s description of the plot to scupper Claudio needed to come across more clearly.

The pace was very fast and the acting was extremely good throughout. Director Paul Hart has again come up with a new view of Shakespeare which made for a most enjoyable evening.

PAUL SHAVE

What The Watermill does best

Paul Hart directs an exciting new take on Shakespeare's Much Ado About Nothing

Shakespeare’s Much Ado About Nothing is given a fresh new makeover in Tom Wentworth’s exciting adaption, inventively directed Paul Hart, who has a wonderful playful cast whose energy and pace was effervescent.

It’s played out on the back sound stage of a 1940s film lot, beautifully designed by Ceci Calf and filled with film cameras and cinematic equipment – full of surprises. The back of the stage is filled with huge distressed metal panels that when backlit become see-through and vignettes are performed in the style of silent movies. A clever touch. The cast also change the 2D storybook-painted flats to create the various locations with precision.

Performed by an exceedingly versatile ensemble they embrace the era with glamour, finesse and love. There is much comedy, hilarious slapstick and glorious jazz music scored by Robin Colyer and impressively played by the actor/musicians. Included are such classics as When I Fall in Love, I Can’t Give You Anything But Love and It Had To Be You, delightfully sung by Priscille Grace playing Margaret, in sultry 40s cabaret style.

Don Pedro, in a forceful performance by Jack Quarton, has returned victorious from the wars with Claudio (Fred Double), a successful handsome young soldier who is promised to marry the vulnerable Hero (Thuliswa Magwaza). Patrick Bridgman as her father and Governor of Messina brings gravitas to this role with a strong stage presence. However, the cunning Don John, played in this gender swapping role by Augustina Seymour, is determined to thwart their marriage.

James Mack’s blustering boasting Benedick is absolutely hilarious, particularly when his face is covered in blue paint and he gets electrocuted by a studio light. Katherine Jack as the sharp-witted Beatrice is an ideal foil to his tomfoolery.

Hayden Wood as Dogberry is hysterically funny, with perfect comic timing and delicious malapropisms. ably assisted by his sidekick Leigh Quinn as the members of the watch, dressed as movie policemen. They even enlist members of the audience to help them, much to everyone's amusement.

This is an inspired production that makes for a triumphant evening's entertainment.

Bravo!

ROBIN STRAPP