A Midsummer Night’s Dream Review (Storyhouse, Chester) - 8th July 2017.
As part of its inaugural season of four plays, with the same cast and crew performing two each - Storyhouse’s brand-new theatre complex and its company, produces a completely new, fresh and vibrant version of Shakespeare’s beloved, romantic classic of magic, couples and comic misunderstanding!
Director Alex Clifton’s production is a bold, brilliant, instantly accessible interpretation of this timeless fairytale. It strikes the perfect balance between retaining all the classical, traditional elements of original structure: The interlinking narrative strands of the two couples, the players, the fairy kingdom), whilst also subtly adding a contemporary edge.
For example, the very smart, topical casting choice has been made, to make Lysander a female as oppossed to a male - without that change ever being too heavy-handed, or overwhelming the overall story.
The effectiveness of the set-design lies in its simplicity: a canopy of fairground-style lightbulbs and several props, allow much of the other magic to exist in the imagination of the audience.
The cast are universally excellent. In particular, Natalie Grady is hilarious as Quince, the director of: ‘the play within the play’. The character’s first name was Peter in Shakespeare’s original text, however another refreshing update means that she’s now called Petra - as Grady’s unforgettable characterisation repeatedly reminds us!
Fred Lancaster is also brilliant as a sharp, sophisticated, protective Demetrius, pursuing his one true love, but falling under the notoriously convoluted magic spell of the kingdom. Anne Odeke is a jolly, joyous Titania who revels in extravagance. Emily Johnstone is appropriately exasperated as the disparaging Helena, and Vanessa Schofield brings a purity of spirit to the innocence of Hermia. The two couples increasingly complicated confrontations are masterful!
The performance which the players (Nick Bottom the weaver etc) put on at the end, for the Duke Theseus’s engagement, is extremely funny, complete with Alex McGonagle’s Francis Flute raising his voice a few octaves to play Thisbe, and Petra Quince acting as a prompt, correcting her cast via a karaoke-style microphone!
The use of music is also especially inventive, with Puck’s final soliloquy being turned into a song and dance, lending the finale a real sense of a party atmosphere - one to which the audience all feel invited!
Rating: * * * *