A Midsummer Night’s Dream

For the first time, a major acting production is being performed in WAAPA’s Spiegeltent (The Edith), with the 2018 Graduating Acting students presenting A Midsummer Night’s Dream in the round.

I must share that the first two scenes of this production were very disappointing. Performed behind plastic that was less than transparent, the scenes set in Athens were difficult to follow, and I felt for the actors who appeared to be working very hard, but simply could not be seen. One expects that performing in the round in a spiegeltent that there will be restricted viewing at times (and indeed this happens later in the show), but this is too restricted and for far too long.

Once we enter the forest, the dreaded plastic sheeting is removed and the production improves immensely.

The fairies in this production are darker and more dangerous than we would usually expect. Dressed like they had wandered out of a recent production of Chicago or Cabaret, under the supervision of student costume supervisors Eryn Burnett-Blue and Remy Benn, these other-folk form a formidable team. Michael Cameron as Oberon and Mia Morrisey as Titania are a dynamic, warring duo. James Rankin flits about the stage in high stilettos, a different but admirable Puck. They are well supported by Ellen Robson (Moth), Thomas Jackson (Mustard Seed), Jessie Lancaster (Cobweb and First Fairy) and Cameron Rouse (Peasblossom).

The crossed and confused young lovers work beautifully together as a team, Strong performances from Jarryd Dobson (Lysander), Sam Corlett (Demetrius) and Mikayla Merks (Hermia), with Kian Pitman’s slightly unhinged Helena stealing scenes in a riveting performance.

The Mechanicals are also delightful. Led confidently by Adam Marks as Peter Quince, we find ourselves very engaged with James Thomasson’s pompous Bottom, Will Bartolo’s engaging Francis Flute, Lily Stewart’s earnest Tom Snout, Teresa Moore’s gentle Snug and Shannon Ryan’s rather exotic Robin Starveling. The team’s presentation of ‘The Tale of Pyramus and Thisbe’, is a unique interpretation that highlights the talents of the cast.

The production team - who are mostly students - have excelled themselves in this unusual space, Rhys Pottinger’s lighting design is stunning, from moonlit forest to vibrant nightclub and Matthew Clark has created an eclectic and intriguing sound design. Stage Management under Catherine O’Donahue and Production Management by Genevieve Scott appear smooth and impressive in this challenging space.

Our last look at this year’s acting graduates as a cohort cements their reputation as a strong and diverse collection of talents. With the production work now being led mostly by the year below, we see a continuation of strong, creative work.

Kimberley Shaw

Photographer: Jon Green