Stage Review of Shakespeare's Much Ado About Nothing at Birmingham Rep 2022

Dan Parr as Don Pedro
Photograph by Johan Persson

This is a Sheffield Theatres and a Ramps on the Moon adaptation and one which involves a wider partnership and community, it is skillfully directed by Robert Hastie.

It is a long play, just short of three hours, as it includes a lengthy introduction by the cast which is an important pre requisite because of the information it conveys. The cast are a mix of deaf; neurodiverse; disabled and non- disabled performers. By the end of their introduction the audience is clear about who is who, and the format and detail of just how the stage activities and various roles will deliver this surprising, and unique version, of 'Much Ado...'

As a Shakespearean comedy, this play, of course, constitutes a degree of language complexity already, yet to incorporate British Sign Language (BSL), audio description and captioning and to give players extra tasks, in order to channel everything clearly, and to make the play totally accessible for all, is no mean feat. The collaborative work involved here is admirable.

'Besotted young couple Claudio and Hero have fallen fast and are quickly engaged. Not everyone finds romance so straightforward – Benedick balks at the very thought of it and Beatrice agrees with him, on that if nothing else. But somewhere in this world, there’s someone for everyone, even if they’re right under your nose.' Ramps on the Moon (2022).

Pictured Guy Rhys (Benedick) and Daneka Etchells (Beatrice)
Photograph by Johan Persson

Describing this in modern day terms as being a rom-com is pretty accurate. We have Claudio and Hero's romantic relationship fastly developing, and, equally, a spotlight on the love-hate relationship between Benedick and Beatrice; both pairings of which are key to sub-plots incorporated in scenes that include general tittle-tattle and mischievous fun by those invested, to the scheming of others with darker intention to spoil things. 

Fatima Niemogha as Donna Joanna
Photograph by Johan Persson

Much of the comedy and comedic tension we can attach to the 'webs being weaved' and to the true-to-form characterisation of people involved in affairs of the heart and those who stir up trouble; all summounting to the misunderstanding and turmoil in Act IV and in Act V.

Kit Kenneth as Balthasar
Photograph by Johan Persson

The hands on action and the technical installations makes it a busy stage at times, but the musicianship and the purest of vocal clarity of Kit Kenneth (Balthasar) is an excuse to just focus and enjoy; or to simply take a breather.

A talented cast, who communicate wonderfully, twinned with an inventive creative team, who, along with everybody else involved, have created a version of Shakespeare's Much Ado About Nothing that is a fine example of diverse involvement in theatrical production, and, whereas, this work can not be described as ground breaking anymore (because the pioneers in the field have paved the way already), this production however, has already achieved a wide reach and the tour will achieve it even more so.

At Birmingham Rep until October 8 and then touring

Review by theatre critic, Debra Hall who attended The Birmingham Repertory Theatre on the press night of Wednesday 05 Oct at 7 pm

Resources

Production programme (2022)Sheffield Theatres and Ramps on the Moon

Online

Ramps on the Moon (2022) https://www.rampsonthemoon.co.uk/