Much Ado About Nothing

Shakesbeer, a company that focuses on bringing the spirit of original Shakespeare productions to modern audiences, presented Much Ado About Nothing for a short season in a cabaret setting. The vibrant, pacy and fun production was a joy to watch.

Aiming to replicate the performance conditions of the Elizabethan era, a troupe of highly experienced actors perform without sets or stage lighting after a rehearsal period of just a few days - they also expect that the audience “Are more likely to be drinking beer and water”. While the company is not all male as it was in Shakespeare’s time, there is lots of cross-gender playing. Adding to the challenge there were only 5 performers to play over fifteen roles.

Fabulous teamwork from this tight-knit ensemble, who work very hard for the 90 minute show (the cutting is excellent). While costuming is simple and symbolic, there are lots of quick changes of character and on occasions hat stands are used to make up the shortfall. While sometimes being in full light can subdue an audience’s laughter - the laughs were constant, as this company worked the crowd with confidence and panache.

Melissa Merchant shone as the elderly Leonato and roguish Borachio in very distinct characterisations. Andrew Kocsis gave Benedick more charm than Branagh, was hilarious as the dim but dutiful Dogberry and kind as Friar Francis. Phillip Hutton was a lovely Claudio, whose betrayal of Hero really stung, and was appropriately larger-than-life as Margaret and Verges. Grace Edwards was lovely as Hero, admirable as Don Pedro and gave fun to Oatcake. Sarah Courtis was a wonderfully forthright Beatrice as well as revelling in the villainy of Don John, and playing Sexton and Balthasar with skill.

Very easy to watch, and it was great to hear patrons’ surprise that Shakespeare was so easy to follow. Clever, contemporary with some comic gold, I hope we see more from this company.

Kimberley Shaw