The clamour and bustle that fills the Noël Coward theatre following its African makeover – which is apparent before you’ve even entered the auditorium – immediately sets the scene for the RSC’s next London transfer Much Ado About Nothing.
After more than 400 years, Shakespeare’s tale of one happy and another sparring couple never ceases to lack originality. While the play’s 2011 reincarnation at the Wyndham’s theatre saw two Tardis travellers take on the lead roles of Benedick and Beatrice, Iqbal Khan’s production has itself taken a journey through space and time to modern day India, where the Bard’s famous words are weaved seamlessly through unconventional oriental surroundings.
In front of intricate latticed windows and impressive stone-effect walls stands the central focus of Tom Piper’s elaborate set, a towering tree laden with ropes and an abundance of shiny paraphernalia, which later in the production – like a children’s hiding place – is to play an integral part in facilitating the mischievous antics of the comedy’s characters.
Himani Dehlvi’s striking costumes range from the spectacular, with Hero’s stunning, jewel-adorned wedding dress, to the functional, with her vibrant scarves serving as cunning disguises. While the production ran the risk of straying into the realm of tacky Bollywood, Dehlvi’s traditional garments paired with Niraj Chag’s emotive music bring authenticity to the location at the same time as giving the Bard’s play a unique and interesting edge.
The multi-talented Meera Syal moulds her movements and emotions to the role of the fiercely independent Beatrice; her infectious and humorous cackle at the mere thought of taking a husband easily morphing into uncontrollable sobbing at the destruction of her cousin Hero’s relationship with Claudio. Her comic flouncing around the stage evolves equally effortlessly into tightly choreographed dancing while her delivery of the Bard’s words proves as powerful in song as it does in speech when she gets the opportunity to showcase her vocal talents during the show’s musical moments.
While Paul Bhattacharjee seems to let a hint of Welsh creep into his Indian accent, he contributes more than just a few “remnants of wit” to his performance as bachelor Benedick, who unwittingly finds himself having to cope in all manner of situations, from tree climbing to boot polishing.
While Syal and Bhattacharjee almost certainly lead the way in the comedy stakes, there is undoubted support from Simon Nagra’s talkative Dogberry, whose interaction with the audience sends ripples of laughter through the auditorium throughout the evening, Anjana Vasan’s irratic maid, who takes delight in waving one of Dehlvi’s traditional scarves like an inebriated football fan at a World Cup final, and an ensemble cast that enjoys provocatively gyrating at every available opportunity.
If it weren’t for the well-known story of Claudio’s love for Hero, which is broken apart by the deceiving Don John, and determined singletons Beatrice and Benedick, who are tricked before falling in love for real, you might forget that the play unfolding before you was penned by the hand of Shakespeare; the 16th century language placed within such an unusual context has a mystifying effect, disguising itself as something altogether more accessible.