Adapted for stage and directed ('cobbled together') by Stephen Briggs, The Shakespeare Codex is based on Terry Pratchett's fictional narrative of The Science of Discworld II: The Globe (Terry Pratchett, Jack Cohen & Ian Stewart), interspersed with generous smatterings of Shakespeare. In a tale which centres on the Discworld wizards and their current experiment, the creation and observation of 'Roundworld' (planet Earth), the audience are led through a vivacious menagerie, which manages to entertain with apparently effortless wit.

An intricate, often indistinguishable web of Shakespearean prose and contemporary English is entwined to skilfully portray Elizabethan Britain as alien to the motley band of Discworld players, who seek to rid the world of elvish influence. Stephen Briggs manipulates both the Discworld elves and a host of sixteenth century household names using scenes from A Midsummer Night's Dream which become integral to the play's narrative force. Other Shakespearian moments are seized to offer comedic character development, notably when Anna Sturrock's charmingly frivolous portrayal of Queen Elizabeth I recounts 'Do you bite your thumb at us, sir?' from Romeo and Juliet. The well piqued script drives the pace of the show, supported by engaging and varied direction and the occasional moment of absurdity. Breaking the fourth wall in the opening scene immediately focussed the audience's attention, and the cosy space offered by Abingdon's Unicorn Theatre was utilised in full throughout the performance. The minimal set came as something of a surprise but rather than detracting from the complexity of the plot, this directorial decision served to heighten the imagination of the audience, and impact of the utterly glorious costumes. Loaned to the society by Oxfordshire Drama Wardrobe and Hampshire Wardrobe, the quality added weight to the superb performances of the cast as a whole. Otherwise incidental and unobtrusive, lighting and sound were used to dramatically signal the entrance of the elves, with colour and discordant rasps heightening their frighteningly mystical nature.

The roaring success of the show hinged on the cast, who each played their part in bringing the production to life with affectionate attention to detail. Young Esme was portrayed by Francesca Richards with a touching naivety while Granny Weatherwax (Val Shelley) oozed no-nonsense superiority, efficaciously deflected by Erin Burns and Jessica Maguire as Nanny Ogg and Magrat Garlick. Mike MacDonald became an energetic force field (particularly in the role of Will Kemp), and Rory Morrison's William Shakespeare was a joy to behold from start to finish. Rincewind (Dan Booth) had the audience eating potatoes from the palm of his hands throughout the performance. His face-off with Natasha Warner as the malevolent Elf Queen (along with her misanthropic band of followers) was a highlight of the night. Matt Kirk's bombastic Mustrum Ridcully was parried by Captain Angua's femininity. However, the most effective pairing of the performance came in the form of Ponder Stibbons (Brian Mackenwells), whose attachment to the reassuring tones of Hex (Suraj Patel) was endearingly faithful.

Terry Pratchett: The Shakespeare Codex managed to cram a great deal into a few short hours, serving as testament to the dedication of Stephen Briggs as custodian of Pratchett's words, the cast and crew. The production was a rich cacophony of riotous fun and laughter which left the audience plastered in smiles and high spirits, with a sudden inexplicable urge to do 'The Time Warp' again.