From the play’s opening in a football stadium (Messina v Madrid), the air filled with chanting and shouting, it’s clear that the men are red-blooded, tribal and action-focussed. The women, it would seem, are primarily there for ornamentation, with their short skirts, high heels and WAG style handbags. The notable exception to this is Beatrice. A sports commentator, her lemon-yellow trouser suit and stilettos are as acerbic as her tongue.

As the play develops, so do the double standards. Messina FC, under Don Pedro’s management, celebrates its victory over Madrid, much of it down to its captain and star player Claudio. At the celebrations, another of the team’s players, Benedick, declares that he does not trust women since any woman he marries will be unfaithful to him. This is rapidly followed by an aside in which Leonato, owner of the club, has sex with a woman whilst simultaneously Facetiming his wife.

The men’s machismo is at its height in the post-match party, symbolised by their masks of bulls’ heads, and, later, in the stag scene that pre-empts Claudio’s marriage to Hero. Both scenes are full of sexual innuendo, and the cliché of young men on the town is played to the full.

The women are equally stereotypes – their role in life is clearly to catch a man, as Hero demonstrates, her fingers trembling with excitement as she reaches out for the ring which Claudio offers her.

The hen scene with Hero and her women friends builds on these displays of silliness, and there is much fun in the extremes to which the production goes to ridicule this. In contrast, the character of Beatrice speaks out. She is supported by the staging decision to switch the character of Antonio, Leonato’s brother, to that of Antonia, his wife. This gives added voice to Beatrice’s condemnation of those who have debased and destroyed Hero through accusations of infidelity.

The sparring between Beatrice and Benedick doesn’t have the full fire it needs to convince us of the invisible bond between them. Scenes involving Dogberry and his fellow police officers also feel flat and lack a sense of farce. But the humour of scenes in which Beatrice and Benedick eavesdrop to hear their friends pretend they have just learned of the love they have for one is fully exploited.

The second act takes on a darker tone from the revelry of the first. Claudio’s rejection of Hero at the marriage ceremony is brutal and shocking, and the reality that her condemnation by men has come near to destroying her is ugly.

The production gives a nod to the pressure from the media and social media on our lives. Claudio finds that his treatment of Hero is publicly scrutinised, whilst her alleged infidelity receives vicious feedback across social media. Projections onto the theatre’s balcony indicate the public nature of the comments. Costumes are in keeping with the production’s focus. Men’s linen suits are all alike, whilst the women sport peacock colours in their attempt to be seen. As the set changes from football stadium to Leonato’s villa, it underlines that everything is for show, and show is everything.

Much Ado About Nothing may be a tricky play to stage, but this version feels relevant and fresh, and serves as a reminder of way in which misogyny is still prevalent.

The production was directed by Michael Longurst. Set and costumes were designed by Jon Bausor and the lighting designer was Jack Knowles. It’s on at the RSC until 24th May. For further information visit rsc.org.uk