As an NSTA representative, I was privileged to attend the Strathallan School production of Much Ado About Nothing on Wednesday 26th March 2026. Directed by Mrs Bronwen Carr-Bates, it was a brilliantly inclusive production, bringing together pupils from a range of year groups and levels of experience, both on stage and behind the scenes, working collaboratively to create a truly engaging and joy-filled evening of entertainment. The auditorium was buzzing prior to the show, with a fantastic energy that clearly demonstrated the support and enthusiasm for the arts within the Strathallan community.
One of William Shakespeare’s most enduring and sophisticated comedies, Much Ado About Nothing is defined by its razor-sharp wit and poignant observations on the fragility of reputation. Set against the backdrop of Leonato’s sun-drenched estate, the play interweaves two distinct romantic trajectories: the cynical, linguistic sparring of the “determined bachelor” Benedick and the fiercely independent Beatrice, and the more traditional – yet tragically vulnerable – courtship of the young lovers Claudio and Hero.
The set design included prominent steps taking up much of the stage; these not only created effective levels that the cast utilised confidently throughout but also contributed to a playful party aesthetic, supported by a white, pink, and lilac colour scheme. The constant flow of confetti falling from above created a magical and whimsical atmosphere, with the confetti crew clearly enjoying their role in enhancing key moments with varying levels of confetti snowfall from the flies. The costumes, designed by Freya, were another highlight, with detailed and well-coordinated choices that clearly identified characters while adding a sense of fun and modern whimsy to the production.
As Benedick, Murray delivered a performance defined by natural charisma and a sophisticated engagement with the play’s celebrated wit. Initially anchoring the role in a playful, sharp-tongued skepticism, Murray showed remarkable growth as the narrative unfolded, gaining an assured command of the complex Shakespearean verse, and allowing his character to fully develop and connect with the audience. Central to the production’s success was his magnetic chemistry with the ensemble, and specifically his “merry war” with Beatrice; their intellectual sparring was executed with a rhythmic precision and a genuine sense of spontaneity that consistently resonated with the audience.
Amy’s success in the role of Beatrice was undeniable. From the opening moments, she demonstrated confidence and playfulness in her characterisation, showing a clear command of both the character and the Shakespearean language. There was an ease and assurance in her delivery, with a strong understanding of every word she spoke, which translated beautifully to the audience and guided us through the storytelling. Her use of actioning, vocal clarity, and expressiveness was a joy to watch, and she clearly relished every moment, communicating expertly with both fellow actors and the audience.
Fin, Matthew, and Ben played Don Pedro, Claudio and Leonato with a buoyant and merry attitude, which was supported by clear costuming and thoughtful directorial choices. Together, they created a fantastic energy on stage. A particular highlight was the garden scene, in which they attempted to convince Benedick that Beatrice was in love with him. This moment demonstrated a strong understanding of the comic intentions of the scene, alongside inventive staging and a clear sense of ensemble. Isla, as Hero, characterised the role incisively, with a contemporary edge, helping to create a modern and relatable romantic atmosphere within the production.
The casting of Don John was particularly effective, with Charlie delivering each line with villainous energy and strong, expressive character choices that also embraced the humour within the role. His entrance at the party – in an animal onesie and oversized head mask resembling a rugby club mascot – was a moment that demonstrated confidence and a willingness to fully engage with the comic potential of the character.
George, as Borachio, brought a roguish energy to the role, particularly within the love tryst, and contributed effectively to the storytelling. Ivianna, as Margaret, complemented this dynamic with a lively and engaging characterisation, particularly in the love tryst and wedding scenes, where her presence added clarity, energy, and emotional connection to the narrative. Together, their performances enriched these key moments. Other roles, including Balthasar, Friar Francis, Conrad and Ursula, were performed with equal commitment and skill, making this a very strong ensemble piece.
A real highlight was the party scene. The costumes and masks were contemporary and visually exciting, with sequined face masks adding a sense of fun and spectacle. This, combined with the choreography that brought the entire cast together, created a moment that lifted both the actors and the audience. The ensemble worked together seamlessly to maintain the party atmosphere through improvisation, enhancing the storytelling without upstaging the central action. This was a particularly strong ensemble moment, confidently led by Amy in her monologue. The line “there was a star danced, and under that was I born” perfectly captured the joy and celebration that radiated from the stage; it felt as though that same sense of exuberance and shared celebration extended into the audience, making the experience all the more uplifting and memorable.
It was a delight to witness such a formidable mixed ensemble working with unwavering dedication to bring this production to life. While it was noted that several boys in the cast were making their theatrical debut, their performances were characterised by a poise and confidence that gave no hint of inexperience – a profound testament not only to their individual hard work but also to the direction and support of the whole company.
There was a real sense of cohesion and generosity of spirit that transcended the stage. Leadership through the arts, alongside the universality of Shakespeare’s words, and the enduring themes of love and second chances in Much Ado About Nothing, were a real highlight of this production. The zest and life within this production were truly uplifting, and it was a celebration of creativity, collaboration, and storytelling. As many of these performers conclude their final production at Strathallan, they leave behind a remarkable legacy, well-equipped to continue championing the transformative power of theatre in their future endeavors.