The Globe's all-female production of this well-loved play achieves many things. In contrast to all-male productions where many of the characters are rewarded with sniggers at their first appearance, the sight of women dressed as men does not invoke this reaction. Although in some instances one was aware that these were women, there were a couple of performances which I had to constantly remind myself were not male. Penelope Beaumont's Leonato was certainly one such, particularly in his/her moments of anger towards Claudio and then Hero. Rachel Sanders is also excellent as the evil Don John without any macho posing she manages to persuade us easily of her masculinity. 
      Whether they are men or women, though, ceases to matter. What matters is that we are involved and easily able to suspend our disbelief. This is not a cast of women acting as men, but acting their respective roles, and on the whole they do it exceptionally well. In the women's parts, Yolanda Vazquez's Beatrice and Mariah Gale's Hero are a nice contrast of biting wit and innocent vulnerability, and the game of deceiving Beatrice and Benedick into declaring their love is very nicely played.
      More than most of Shakespeare's other comedies, Much Ado has a touch of tragedy about it and Tamara Harvey's production captures that element very well. Hero's betrayal and Leonato's subsequent rage brought tears to the eyes. 
      Also sparking off tears, but for very different reasons are Sarah Woodward's Dogberry and company. Their first scene received well-deserved spontaneous applause from the packed audience. Woodward in particular is riotously funny, constantly doffing her hat at every mention of god or prince and adamantly demanding that it is written down that: 'I am an ass'.
      There are only minor quibbles. Josie Lawrence's Benedick, despite looking remarkably like Puss-in-Boots, is generally convincing but I like my Benedick to be a little more intelligent. The integrity and honesty that she shows at the end could perhaps be more in evidence even in the teasing moments at the start of the play. I found it very difficult to believe in the love between Beatrice and Benedick. Their sparring is too jokey and aggressive and the change of heart in both not quite credible. Ann Ogbomo's Claudio is nicely judged but one feels that her voice is rather strained in the open space which is a pity. This is not the greatest production of Much Ado but it is certainly an uplifting and enjoyable one.
      Despite the rather amusing sight of ladies in Elizabethan dress asking us to turn off our mobiles, I heard at least three during the course of the evening. Luckily they didn't intrude too much but if the audience must be disrespectful I'd prefer heckling from the groundlings!
Francine Brody