Post lockdown, theatres are looking for sure things and bets don’t come much safer than the wittiest of Shakespeare’s romcoms. Sheffield Theatres and Ramps on the Moon bring this production of Much Ado to the stage just a couple of days after the National Theatre brought down the final curtain on its own. If London audiences missed out, they should head to this exceptional and exceptionally moving version of a bulletproof piece.
A number of aspects elevate the production. One is the involvement of Ramps on the Moon, which aims to normalise the presence of deaf, disabled and neurodiverse people on British stages. Another is the most compelling Beatrice you might ever see: Daneka Etchells plays this script like a maestro, somehow finding new notes in lines that are four centuries old, even making some of it feel like it was written yesterday. When Beatrice’s shield of wit is pierced by heartbreak, Etchells, who is autistic, can’t suppress her – or the character’s – physical tics and watching her resolve to remain calm is deeply affecting.
The presence of surtitles, actors using British Sign Language and a diverse cast all enrich the storytelling. In this production Hero doesn’t speak, she signs. She is literally voiceless. How much that adds to the injustice when she is accused at the altar of infidelity is immeasurable and extraordinarily moving.
Director Robert Hastie takes liberties with the script, each one a smart decision. Guy Rhys’s eminently watchable Benedick departing the stage with an “I pity the fool” cast at those that fall in love? Perfect. When he describes Beatrice’s missives of love to him as “a bit top shelf”, it’s hilarious. Hastie also gives new context to existing lines. Benedick overhears his friends plot against him while pretending to be Don Pedro’s masseuse, giving a new meaning to “there’s the rub”. Irresistible.
At Sheffield Crucible until 24 September then touring until 12 November.
