Somewhat late in life, William Shakespeare works away in his den in his hometown. He considers not Hamlet’s mortality now, but his own. He’s amending his last will and testament, seeking to protect his daughter from her dubious husband. Such a legal document must be signed, unlike almost all of Shakespeare’s writings.
This Shakespeare (writer of the piece, Colin Cox) seems concerned only with a providing for his children. Yet, his muse, in the guise of a vigorous young woman (Alessandra Mañón), has glimpsed the future. (Which verily seems a little beyond the job description, but if some magic is good enough for Macbeth or A Midsummer Night’s Dream…) She worries for the writer’s broader legacy.
In some distant time, in the absence of hard proof, many doubt that Shakespeare, with his modest education, is the true author of works credited to him. This muse would have it explained, at least to her and we the audience, the stories behind Shakespeare’s writings and the secrets held within. Such intimate details would prove conclusively that “The Bard” was indeed the author of many of the greatest works of the English language.
And so, with a measure of reluctance overcome by tactics from cajoling to baiting, Shakespeare took us back to the humble beginnings of his parents and his birth. Cox recounted the chance adventures that took a young glove maker away from Stratford-upon-Avon, and the sorrows of later life that delayed his return.
The performance certainly gives us a far snappier, even snarkier, view of Shakespeare – and importantly, his contemporaries – than we ever had in a high-school course. The budding playwright’s foibles, friendships, and rivalries are usefully sketched, enriching our understanding of Shakespeare and his era.
Having a time-travelling muse means that discussions were laced with modern terms, the surprise of which, along with some terse ripostes, could elicit laughs. However, there’s a downside to some exchanges between a writer of seemingly infinite jest and his quick-witted inquisitor.
Especially for those of us not regularly imbibing Shakespearian language, jibes in rapid succession (in a fairly late show) deny phrases a chance to breathe, and us the best chance to absorb all the jokes.[i] As this viewing was early in the season, quite possibly later performances will find a rhythm that further supports the (sometimes quite dense) text.
Through the industrious efforts of Mañón, involving many changes of costume, voice, and demeanour, the work successfully (and reliably) defined various key figures. Whilst it probably helped to have some knowledge of these, say famous actor Richard Burbage or playwrighting chum/rival Kit Marlowe, the consistency of portrayals ensured that the paths of characters were easy to follow.
From an initially world-weary mood, Cox helped us appreciate the excitement found by Shakespeare in London, and the satisfaction felt in achievements there. A story about a legal loophole gave an especially striking insight into the tenacity of Shakespeare’s theatre company.
Significantly, a consideration of sonnets and plays revealed Shakespeare’s humanitarian ideals. For example, Cox’s restrained yet powerful relating of a speech from Shylock (The Merchant of Venice) showed us how the playwright sought to challenge the antisemitism sweeping England.
If you consider a Fringe festival as a chance to experience less-common styles of performance, then you’ll get that in Not Without Right – a loving tribute to a literary giant filtered through a modern sensibility. And if you were wondering what that title means, it’s all nicely wrapped up by the show’s conclusion.
Not Without Right: Shakespeare’s Secrets
Bard’s Apothecary, 7/24 Crossley Street, Melbourne
Performance: Wednesday 1 October 2025
Season continues to 18 October 2025
Information and Bookings: www.melbournefringe.com.au
Image: Alessandra Mañón and Colin Cox in Not Without Right: Shakespeare’s Secrets – photo by Jane Schinisi
Footnote:
[i] The commitment needed to get the gags reminds me of a joke in Upstart Crow, episode “Star-crossed lovers”.
Anne: Don’t do comedy, it’s not your strong point.
Will: It is my strong point wife, it just requires lengthy explanation and copious footnotes. If you do your research my stuff is actually really funny.