Dr Reavley Gair, Professor of English, University of New Brunswick:
When plague stopped play in London's theatres in Shakespeare's day, his company spent the summer doing one-night stands in the provincial towns and cities - usually outdors in a traditional "playing place". Not all the players travelled; they acted with a severely pared-down company. To perform Shakespeare's tragic and comic master works much doubling and improvisation was, therefore, essential; Illyria's performance of MUCH ADO is a close aproximation of what these 16th century performances were like. Illyria's five actors are the direct heirs of Shakespeare's wandering players.
Shakespeare's players normally ad-libbed additions to the clowning roles and undoubtedly added contemporary comments whenever they seemed appropriate; Illyria's actors jested with the audience and the Watch was instantly recognizable as Dad's Army. The tradition was further maintained by the accuracy with which the verse was spoken - for while Shakespeare's plays were probably spoken in his day in a Cotswold accent, Illyria's actors shifted their voices and accents through unmistakeable class divisions to distinguish upstairs from downstairs.
There were, I am convinced, many sight gags on the Shakespearean stage, but of course we have lost them. However Illyria offers a feast of funny actions and actors (I particularly liked Philip Corbitt/Benedict as a flower) and the point is clearly made that Shakespeare's comedy is funny - and the audience definitely agreed. There are few props save the costumes - and this too is in keeping with their 16th century antecedents; one can listen to the words and see the gags without the distraction of unnecessary and certainly unhistorical stage effects of lighting and furniture.
The actors have immense energy and they constantly cross-dress which is also entirely in keeping with the Shakespearean stage where boys played the women's parts. This is not just "fun" Shakespeare; it is a genuine original and is thoroughly enjoyable in its own right. Its success is due, in large measure, to its direct line of descent from its Shakespearean touring antecedents in the 16th and 17th centuries.
Even if you only take in one play this year, this is the one.
Dr Gair is editor of plays of Shakespeare's contemporaries (Revels series), author of The Children of Paul's, The Story of a Theatre Company, 1553-1608, and other Elizabethan studies.