‘this is Shakespeare as it is meant to be seen’
Walk down an unsuspecting street in Brockley, and you might be confronted with a charming sight: a enchanting garden complete with outdoor theatre. One feels like they’ve been transported back in time to a private soiree of someone in the Fabian Society, but don’t let the historic feel of the garden fool you, the Sirrah’s take on the Bard is as fresh and relevant as you might find anywhere.
The cast immediately greet the audience in character. Some even serve drinks at the “LeoBARdo,” where one must purchase water with a poem. This is an evening designed to get the audience involved.
It’s a fast-paced musical romp in which a cello, an accordion, a violin, and eventually a banjo accompany modern song covers. There’s even a singalong of an Irving Berlin song, one of the most charming moments in the show. Shakespeare’s prose is notoriously difficult to do well, and the cast never leave us wanting. This is a tight team of players, made up of marginalised genders, and they would not be out of place at the Globe.
Far from being a pompous chauvinist, as he is often played, the Sirrah’s Benedick (Kate Andrews) shows a distinctly neurodivergent take on the character. Andrews’ physicality is specific and grounded in a rigid authenticity entirely distinct from their own person. This is what comes of having neurodiverse actors playing characters who might be considered neurodiverse. It is only when Benedick is finally alone and comfortable being himself that we see him relax slightly while playing a banjo.
Blioux Kirby’s Beatrice is grounded in genuine emotion; her wit a defence mechanism for the oppression women face in society. Kirby’s consistency is notable and Kirby and Andrews play off each other’s physicality.
Indeed, the entire ensemble gives a wonderful performance. The Sharpay Evans version of the play’s villain Don John (Hannah Hawkins) gives us a gender fluid take on a character who meddles in the affairs of others for no apparent reason (except perhaps his love of Claudio, which is subtly done). Claudio (Ellen Timothy) and Hero (Kelsey Yuhara) are endearing and sweet, Don Pedro (Lani Calvert) and Leonato (Victoria Howell) both utterly charming, and Rosa Lennox multi roles spectacularly. Special mention goes to the villainy of Conrade (Kitty Whitelaw) and Borachio (Emilia Harrild) who both came off as sincere and comedic, yet grounded and multirole or play music throughout. There was even a wonderful cameo from Ernie, the company’s dog, who even barked wildly at the villain’s name.
The highlight of the show, was Nat Kennedy’s Dogberry, who entered during the second half with a loud wail of police siren and invisible car, and appeared at any given moment to the delight of the audience (and dismay of the other characters). Kennedy (who also directed the piece) is a master at involving the audience, rolling with interruptions, and teasing out the comedic moments – with a sense of improvisation. One can only imagine that each night has a slightly different take and it was a joy to watch them.
This is Shakespeare as it is meant to be seen: messy, playful, outside, queer, directly involving the audience, players who multi-role swapping characters in sometimes Brechtian style. The entire audience seemed utterly captivated by the entire affair. Yet more than this, grounding Shakespeare in traditional British theatricality through a distinctly queer and neurodivergent lens and engaging an audience directly in this way, is a feat that will keep the art form alive as the world threatens to replace human interactions with digital ones in every capacity. We need this work now more than ever.
Review Date: 4th September 2026
Star Rating: FIVE