A Midsummer Night’s Dream

Queensland Shakespeare Ensemble has tackled one of the Bard’s most beloved plays with A Midsummer Night’s Dream, performed at PIP Theatre under the direction of Angus Thorburn. It’s a play that teeters between dreamscape and nightmare, and this production embraces the enchantment of fairies, the ridiculousness of the Mechanicals, the tender ache of human hearts, and the wild chaos of misplaced desire. What results is an evening that celebrates both the lyrical beauty of Shakespeare’s language and the sheer fun of watching mortals, immortals, and actors-within-the-play all stumble, tumble, and fall in love.

Thorburn’s direction leans into the ensemble spirit for which QSE is known. Each actor has their moment to shine, and the company’s camaraderie is evident throughout. While some of the stage blocking occasionally feels uneven, the overall sense of creativity and collaboration is unmistakable. The cast works with assurance and confidence, delivering a production that is playful, well-rehearsed, and often laugh-out-loud funny.

Several performers stand out for their inventive characterisations. Claire Pearson brings a regal yet tender presence to Titania, her expressive face making the fairy queen’s emotional shifts ring true. Then, as Snout, Pearson’ physical comedy is outstanding, proving her versatility. Emily Croft is another delight, bounding across the stage as a mischievous, athletic Puck, full of energy and impish wit. Rebecca Murphy shows extraordinary range, moving between the commanding Oberon and the hilariously awkward Starveling with a deftness that highlights both her gorgeous vocal tones and her sharp comedic instincts. Rob Pensalfini’s Bottom is a joy to watch; brimming with humour, clever physicality, and a deep understanding of how to make Shakespeare feel accessible and contemporary. His interpretation of the larger-than-life character is a highlight of the show, striking the perfect balance between satire and affection.

Among the young lovers, Mikala Crawley’s (Helena) expressive face and heartfelt commitment make the character’s suffering and persistence both touching and funny. She pairs beautifully with Eamon Langton’s Demetrius, who matches her intensity with a strong, grounded performance. Meg Bennett’s Lysandra and Leah Mustard’s Hermia capture the fire and spark of their relationship with infectious energy, while Paris Lindner brings grace and depth to Hippolyta. Jason Nash’s Theseus is played with a refreshingly down-to-earth sensibility, while James Enwright and Dom Tennison add flair and humour in their multiple roles. Liliana Macarone as Quince has a lovely stage presence and joyful energy in both acting and music-making.

Speaking of music, the score composed and performed by Macarone and Pensalfini (with contributions from Nash) gives the production a buoyant heartbeat. Songs are seamlessly woven into the storytelling, often heightening the comedy, and the live instrumentation gives the performance a rustic, playful edge that feels in keeping with the forest setting.

The production design and costuming embrace a simple but imaginative aesthetic. Josh Murphy’s set uses branches and dangling green strips to conjure the forest, giving the stage a sense of layered mystery while allowing plenty of space for the ensemble’s physical play. While garments by Costume designer Harmony Barath bear the tell-tale signs of quick construction, there is a strong creative vision at play. Titania’s floral veil and blue gown have an ethereal beauty, Oberon’s crown of sticks is a striking touch, and Bottom’s donkey head is funny, adorable, and oddly majestic.

Ziggy Enoch’s lighting design works hand-in-hand with the action, shifting hues to underscore the emotional tides of the story and adding to the comedic punch of key moments. Similarly, Jason McKell’s fight choreography is a treat. It is dynamic, exciting, and brimming with apparent danger, while still keeping the performers safe.

Ultimately, this Midsummer is full of warmth, humour, and a sense of communal joy. QSE’s staging makes an inviting entry point, with performances that illuminate the text and a company that clearly delights in the play’s contradictions. The production offers plenty of fresh character choices, inspired casting, and musical colour to keep it engaging. This is theatre that welcomes its audience into the dream with laughter, music, and a reminder of just how messy, magical, and transformative falling in love can be.

Kitty Goodall

Images: Benjamin Prindable Photography