Much Ado About Nothing – The Handlebards, Southwell

The sustainable travelling Shakespearean company The Handlebards return this summer with Much Ado About Nothing, bringing a cycling spin to the antics of Beatrice and Benedick.

Handlebards, We Meet Again

Long-time readers will remember the Handlebards, a sustainable Shakespearean touring company. I first saw them performing A Midsummer Night’s Dream in 2023. They’re back this year with Much Ado About Nothing. The cast are different but the concept remains the same. The Handlebards tour a production every summer, transporting most of their costumes, props and supplies by bike with an electric van for the overspill. They get around much of the UK and sometimes further afield: this year’s tour included Germany. I missed them at Charterhouse Square this year (because I was on tour myself, per my recent posts). So instead I travelled – by public transport of course – to see them in Southwell.

I spoke last time about how much I enjoy the echoes of the past in this touring style. There’s something pleasingly traditional about heading to a community green space to see a company of travelling actors. It’s a format Shakespeare would have understood, even if this version of his work has a number of modern flourishes. Before we get into those, I think I can probably take it as read that you are familiar with the plot of Much Ado About Nothing. Just in case you aren’t, it’s one of the classic storylines. Beatrice and Benedick can’t stand each other, up until they can’t keep their hands off each other. There’s a second romantic storyline with Hero and Claudio, some hijinks with the Watch, and a distant background of war.

Here, rather than returning from war, Don Pedro and his men have come back from a cycle race. Think classic Tour de France. Leonato, the Governor of Messina and Edwardian gentleman, hosts them, with one eye on any marriage prospects for his daughter Hero. Hero, wonderfully, is played in this production by a mop. It highlights indirectly how Hero is treated more as a prop than a person with agency within the narrative, but is also one of many ways in which the four-strong cast (Andrew Armfield, Sarah Bulmer, Emma Hadley-Leonard, William Ross-Fawcett) make use of objects, costumes and audience members to people the world of the play. Cycling bibs indicating which character is which (BE for Benedict, DJ for Don John) help the audience keep up.

Much Ado About Nothing

No matter the company performing it, Much Ado About Nothing is a fast-paced and funny play. And like with A Midsummer Night’s Dream, the Handlebards dial up the silliness and fun to engage and delight audiences. There’s a lot of physical comedy and clowning, some repeat gags, and a healthy dose of audience interaction. The villains are villainous (Ross-Fawcett has a wonderful time playing Don John, who even has his own bad guy entrance music), and the wits sharp. Director Emma Sampson wisely leaves a lot of space for the cast and audience to enjoy themselves: the relaxed atmosphere of the performance is a lot of its charm.

The other thing this production of Much Ado has is boundless energy. Given the cast are often cycling themselves to the venue on the same day, it’s impressive just how much they give to their performances. They caper, bound, and practically fizz with good humour, ensuring every audience member from the picnic blankets in the front to the most distant deck chair at the back has a good time.

All in all, the Handlebards continue to be a wonderful thing. I was interested to see they now have a partnership with Shakespeare North Playhouse: I wonder how their interpretation of the Bard translates to an indoor setting. But if you can make it to one of their remaining performances, please do. They are touring until 18 September, finishing with a couple of dates in and around London.

Salterton Arts Review’s rating: 4/5

Much Ado About Nothing was performed by the Handlebards in Southwell on 25 July. The tour continues to various locations until 18 September 2025. More info and tickets here.