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Much Ado About Nothing


The Globe

by William Shakespeare | directed by Matthew Dunster | set and costumes by Anna Fleischle

music by Jame Maloney | Choreography by Charloot Broom | lighting by Philip Gladwell | sound designer George Dennis | photograpby Tristram Keton

Praise for the Work

'The pair are as prickly as the desert cacti glimpsed through the door of the freight train, the work of set designer Anna Fleischle. The train turns out to be a visual conjuring trick, full of unexpected doors and windows, which are used to ingenious comic effect as the reluctant lovers are nudged towards recognising and declaring their love for each other.' THE GUARDIAN 

'A railroad carriage wedges itself across the Globe stage for Matthew Dunster’s take on the ‘merry war’ that is Much Ado About Nothing, set during the Mexican Revolution. Anne Fleischle’s excellent design serves the play itself well. It makes light, believable work of scenes where Beatrice and Benedick are tricked, allowing for a dynamic use of space which eschews the pantomime-level hijinx the play often encourages. Use of the carriage roof and pit let the action reach out and embrace the audience in a way that – regardless of recent controversy – punters love, and only the Globe can deliver. A projected billowing sky suggests the open plains of Mexico, yet, somehow, the Globe remains a stubbornly immutable space.' EXEUNT

Anna Fleischle’s designs lovingly transform the Globe’s balcony into this oversized train, complete with sliding panels, doors and windows for easy overhearing and slick, quick-change comedy, and a mariachi band tucked away on a corner of the roof. You’ll cry hey for a nonny-nonny in this upbeat score. Against the wooden backdrop, dresses in deep reds and blues, acid greens and pinks riot with the colourful slashes of the Mexican flag and the queasy pastels of a shrine to the Virgin Mary. It’s visual joy, conjured from cheap cotton and desperation, and makes sense of the play’s urgent humour, the quick wit and wordplay that distracts from the darker business and the death that is present all around. THE ARTS DESK

'It’s a visually distinctive production featuring some gorgeous costumes. Designer Anna Fleischle has masked the Globe’s familiar backdrop with a cloud-curtain, parked a great big wooden railway car on the stage with a mariachi band on the roof, and turned one of the pillars into a whitewashed, azure-splashed chapel, complete with a gaudy Madonna and votive candles. The attention to detail is considerable and a lot of thought has evidently gone into the aesthetic.' THE STAGE

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