A Midsummer Night’s Dream

As one of Shakespeare’s light-hearted comedies with many fantastical aspects, this text is not normally associated with being edgy and somewhat dark in its nature. This production takes some licence with the casting and sequencing of events and creates a very moody piece without losing any of the impish humour. In fact, this highlights the contrast between the eerie ethereal creatures that inhabit the wooded space and the other spheres represented in the play. The magic of the forest creatures is created more through subversion and daring than stardust. This is especially echoed through a very solemn and stylish costume and set design. As a result, the comic flavour of the play is enhanced by exploring and teasing out its more sophisticated elements. 

The play is approached as an ensemble piece allowing each performer to shine and this shifts some of the attention away from the regal characters as the prominent roles. This gives more scope and depth to the emotions and action of the lovers but also to The Mechanicals. The elaboration of their terrible play and the ineptness of its delivery is depicted in fine detail. This makes the scale of the disaster of their performance extremely obvious. The hilarity of this is particularly predicated upon the genuine but misguided diligence in their efforts. 

Extraordinary acrobatics as well as some fast and complex changes in the use of costuming, sets and props gives the production a very unique and fresh perspective on the play. This energises the language, and the performers are able to give their delivery levels of shock, awe, and exasperation that are positively delightful. The striking and highly visible transitions in disposition that is required from the performers as they transition from one world to the other is also truly impressive. 

Among the many highlights of the show is Isabel Burton as Helena. Her response to the sudden and inexplicable adoration of both Demetrius (Mike Howlett) and Lysander (Laurence Young) is magnificently full of indignation. Matu Ngaropo as Bottom is also absolutely spectacular. He is not afraid to make Bottom ridiculously exuberant and this makes Ngaropo’s stage presence extremely compelling.  Puck (Ella Prince) is handled with an extremely delicate touch. Puck is cast as a bit of an outsider with pixie like qualities that renders the persona as deliberately mischievous rather than inattentive or absent minded. Prince adds an unusual kinetic style and energy to the performance that suggests a delicious savouring of the mayhem created by the pranks.  

This production challenges conventional understandings of this play and draws out the humour via the inherently more sombre and disruptive qualities in this supernatural text. This creates a theatrical experience that is highly satisfying and very illuminating.

Patricia Di Risio 

Photographer: Brett Boardman