Review – A Midsummer Night’s Dream
An Odd Twist on an Old Classic
As pale floodlights illuminate the vast open and empty space of the stage of Brighton Theatre you can almost sense the disappointment of the audience. There is no ornate set or sense of grandness, just a shabby alter and an expanse of black flooring. The feeling does not improve as the first, very nervous actors appear and provide a somewhat wooden performance. With a play as famous and well aired as Shakespeare’s A Midsummer Night’s Dream, there is always a certain expectation. It is known for its fantastical elements, the splendour of the fairies, the mystery and intimacy of the forest as well as the commanding presence of its characters. Instead you are offered a vast stage with nothing to fill it with, except music from the 60s and only the essential props. But it doesn’t remain empty for long.
The mischievous Robin, played by Elizabeth Bastable, the right-hand girl (in this production anyway) of the fairy king, is one of the most animated and well-schooled actors you are likely to see in this year’s Fringe. Not only does her presence fill the vast stage but she makes the character her own – dancing, joking and rhyming as if it was second nature. Unlike other cast members, Bastable never drops her character even when she is supposedly invisible.
The other strength of the Reverb Theatre Group’s production is their skillful rendition of the wedding celebrations of Theseus and Hippolyta. The classics of comedy, including both physical and vocal comic tropes, are all showcased with surprising ability by the troupe presenting the play within the play, specifically the theatre troop’s leader Bottom, played by Luke Saunders. While the scenes are particularly well written, timing is an essential part of making or braking any joke and Saunder’s is, time and again, dead on.
It is interesting to note that none of these highlights had anything to do with director Ellie Heard’s choice to set the play in the 1960s – a decision that is constantly emphasised. The programme claims that Shakespeare’s play is an “outlet” for the audience to “grapple with free love, individualism, equal rights, rebellion, sexual expression, peace and unity.” Granted, Shakespeare was a talented playwright, but this extensive list feels like a bit of a stretch for this romantic comedy about marriage. While Hermia (Lucy Bell) does rebel, A Midsummer Night’s Dream is not focused on her rebellion. Rather the play focuses on how true, heterosexual lovers, come to express their love in the sanctified union of marriage – after a series of strange events of course. Therefore Heard has made a large and unnecessary link with the “swinging 60s”. This erroneous link is further emphasised throughout the play with extensive sections of 60s mood music (for instance the opening scene). The staging of Shakespearian works in contemporary clothing or attire that isn’t Elizabethan is a common occurrence in theatre and film. There is no need to excuse the choice of one decade over any other with anything more than noting that love is still a relevant theme.
The 60s aside, you do not need to create reasons to see or enjoy this play. Shakespeare is considered a timeless classic for a reason.
