At a time when theatres are wanting bums on seats more than ever, recovering post pandemic pandemonium, Shakespeare’s one of the safest bets they can make. A treat then, to see something interesting done with it, at least – integrated captioning, truly diverse casting, ad-libs that don’t detract or distract, and some stellar performances. Ramps on the Moon know what they’re doing.

Ramps on the Moon is a collaborative partnership, led by the New Wolsey Theatre, of six National Portfolio Organisation theatres, launched in 2016 to make regular the presence of d/Deaf, disabled and neurodiverse performers for audiences across the country.

Each Ramps on the Moon staging contains a cast with a roughly equal mix of D/deaf, disabled and non-disabled performers, usually including musicians. Much Ado About Nothing is no different. Heck, there isn’t only music, there’s a whole hoe-down here. A heel-digging, lasso-swinging, belly-laughing hoe-down. It’s good fun. Really, that is what this production is all about: good fun.

Shakespeare wrote this comedy at the end of the 1500s. It sees two partnerships put to the test, and (surprise surprise) ends in two marriages. Claudio is tricked into believing his betrothed Hero is no fair virgin, and Benedick and Beatrice start off as sparring partners ‘of old’ and are tricked into confessing their love. Ostensibly the show is the story of the former couple, but really it’s the latter couple who are the leads.

With modern audiences in particular, we’re here for Benedick (a charming, compelling Guy Rhys) and Beatrice (Daneka Etchells). This is one of the best Beatrices I’ve ever seen, on stage or screen alike. Etchells finds new notes in old lines, they’re witty and naturalistic in a way that makes it feel like your best mate’s on stage, and their chemistry with Rhys is off the charts. The scene where Benedick tries to calm Beatrice is hugely affecting. 

This is a strong cast all round – Fatima Niemogha imbues Donna Joanna (this production’s Don Juan) with a quiet malignance, Dan Parr offers an anchoring performance as Don Pedro, Caroline Parker gets huge laughs as Dogberry – but as the drama builds, it feels a little like everyone starts performing at different pitches. Light and shade is always welcome, but the naturalistic performances make the more melodramatic ones feel a little “much” in the second act.

A hearty show enjoyed by all – that is, enjoyed by those few bum-filled seats that were present. Audience numbers were low for this production, and that’s a shame. It’s no fair reflection on the strength of the cast and direction. Get down to see it.

★★★★☆  Will Amott  6 October 

photography credit @Johann Persson