Written by William Shakespeare
Adapted and Directed by Robert Hastie
A Sheffield Theatres and Ramps on the Moon production
Since 2016 Ramps on the Moon have been partnering with six major venues including New Wolsey Theatre, Sheffield Theatres and Leeds Playhouse and Birmingham Repertory Theatre. Each year, this collaboration produces a large-scale touring production with one of the theatres to showcase the talent of deaf, neuro diverse, disabled and non disabled performers and creatives. Much Ado About Nothing is the fifth such production but the first to experiment with Shakespeare and the first to use British Sign Language BSL and Audio Description AD Directors to further develop fully integrated access both on stage and for the audience.
This year is the turn of Artistic Director Robert Hastie of Sheffield Theatres to work with the company. The resulting outcome is a joyous affair that ensures this comedy sparkles and feels fresh and innovative. Most significant about this production is that the work of Hastie, the actors and the creatives have resulted in giving real emotional depth and resonance to the piece. It is a witty and fast paced, irreverent production but it also has beautifully crafted performances that give new depth and interest to some of the best loved familiar characters.
This is a highly intelligent and perceptive production which is beautifully staged. The gleaming set designed by Peter McKintosh is sleek and stylish summerhouse and incorporates captioning in the skylight. In the opening sequence the cast gather for dinner inside the summerhouse and we observe them on stage through the sliding glass panels. In a wry twist, the audience can see the animation and the interactions but from a voyeuristic perspective where many of us can see but cannot hear…when the cast “see” us they burst through introducing their characters and who signs, etc, all using Audio Description. This breaking of the fourth wall sets the scene for a production that feels consistently accessible to all and no strategy used ever feels tokenistic or shoe horned in. The overall feeling is that this theatrical medium actually embraces and enhances the original Shakespeare.
This is a strong cast who work in a very collaborative manner. There is music from multi instrumentalist Kit Kenneth as Balthasar and some lively dance sequences as the cast stage a hoedown in old Messina! Dan Parr exudes easy confidence as Don Pedro as he oversees the machinations of the various love affairs. There are some great duos with Claire Wetherall and Taku Mutero as Hero and Claudio and with Laura Goulden as Margaret who speaks most of Hero’s signed dialogue. The relationship between Beatrice and Benedick is of course central to the richest vein of humour with their rapier sharp exchanges. This is an inspired pairing as Daneka Etchells and Guy Rhys are perfect as Beatrice and Benedick. Both actors bring earthy wit and perfect comic timing, but also real emotional depth that makes their love affair utterly believable and truly potent. When Guy Rhys taps his prostheses as he asks Beatrice which of my bad parts did you first fall in love with, it is such a perfect moment. Etchells’ outrage and raw pain at the unfairness of her cousin’s undoing is hard to watch but incredibly moving.
This is a production with a focus on accessibility, acceptance and raising awareness. It ticks every box and as a bonus enhances this classic comedy. I took my daughter who hates Shakespeare but is learning BSL. We left Leeds Playhouse with a Shakespeare convert… so big thanks to the cast and creatives!!