Why Shakespeare is the ultimate training ground for actors

For director Miel Barrera Abong, staging Shakespeare is not about nostalgia but rather about training actors to meet the highest demands of the craft.

Her latest production, Love’s Labour’s Won, is an adaptation of William Shakespeare’s Much Ado About Nothing, mounted by Tridem Collective Entertainment. The play follows two intertwined love stories disrupted by deception and rumor. When Hero is falsely accused of infidelity, her reputation collapses under public judgment. Meanwhile, sharp-witted Beatrice and reluctant bachelor Benedick clash in a battle of words that slowly reveals deeper truths about trust, dignity and love. In Abong’s version, the story becomes a tribute to women claiming their worth.

The production features established theater artists alongside emerging performers and students from Tridem’s Workshop to Stage program. Before rehearsals began, the ensemble completed five weekends of intensive training covering speech, movement, Shakespearean foundations and audition technique — reinforcing Abong’s belief that classical text is one of the strongest tools for actor development.

“Shakespeare’s themes are timeless, and audiences will always find something relevant in his work. When Shakespeare is staged thoughtfully, it draws audiences because it speaks to universal human struggles,” Abong said. “As an acting teacher, I believe Shakespeare is one of the best foundations for performers. His language is deliberate and poetic, demanding discipline in memorization, voice and breath. It forces actors to engage with text at a deeper level, cultivating thinking actors who respect words and meaning.”

She emphasizes that technique comes before interpretation. “In my teaching, I prioritize training the voice and body before tackling text. Theater is rigorous in that actors must be prepared for the demands of high-intensity shows, sometimes two performances a day. Once the body is ready, Shakespeare becomes the ideal text to refine technique and nuance. It also deepens an actor’s comprehension of scripts. For me, Shakespeare is not just relevant now; it is essential in every learning space.”

Abong’s attraction to Much Ado is both artistic and personal. “Comedy also suffers from being undervalued compared to tragedy, yet when rooted in truth, it can be profoundly moving. In a world already steeped in tragedy, I turn to comedy as a way to restore strength and better comprehend harsh realities. Sometimes, laughter is what opens the door to understanding for some people. Comedy is not the avoidance of reality; it’s just a gentler acceptance of it. We can learn through laughter, too.”

The play’s warning against misinformation feels urgent to her. “At its core, Much Ado warns against believing rumors. Disinformation kills,” she says, pointing to how quickly Hero is condemned.

By renaming the piece, Abong reframes its victory. “In our staging, the victory belongs to women: to Beatrice, to Hero and to every woman ever made to feel like their pain didn’t matter. Renaming the play is both an artistic choice and a statement of intent.”

For Abong, Shakespeare remains more than a classic. It is a crucible, one that shapes stronger and more thoughtful actors with every line.