Date: 12th May

Venue: RS1

Reviewer: Georgia Smyth

William Shakespeare’s A Midsummer’s Night Dream is a play that is inherent in every Shakespeare lover’s repertoire. It is typically the first insight you get into the bard’s expansive works as a child, transporting you to an enchanted forest with a feuding Fairy King and Queen at war. Darcy Keeble Watson captured the fantastical and mystical in her direction, which provoked humour from the outset.

The play was set in Greece and Keeble Watson aimed to address Ancient Greek mythology after her personal attachment of living in Southern Cyprus. However, at times I felt this became a little bit confused with modernity, especially with the contemporary love songs of Demetrius at the start of the play. Yet, the dressing of the fairies and nymphs in Grecian togas was very effective. Heather Robbins and Natalie Bell should be commended on their use of glitter, choice of hairstyles, flower crowns and togas which seemed to be adapted to each character. Their choices of costume, hair and make-up definitely added to the mystical element of the play and arguably aided the actors in pursuing this sense of the bewitching and mysterious.

Keeble Watson’s casting was on point and each character fitted their role perfectly. Those that stood out were the elegant and eloquent Molly Barber playing Queen Titania presenting an alluring and ethereal figure. Also, Chloe Hickey executed the role of Helena in an innocent and convincing way, this had the potential to lack gravity, yet Hickey kept Helena elevated and brought great focus to her character. Cory Rennards depiction of a sassy Puck was hilarious and feisty. Particularly when he produced flower buds out of his Calvin Klein underpants, which was previously concealed by his toga (this showed a great expanse of upper thigh!). Rennards’ ability to interact with the audience added to his characterisation and indeed showed his adaptability and versatility. Undoubtedly, Nick Pippin’s comical portrayal of Bottom as he emerged from a night with the ethereal Queen Titania, also added to the comedic elements of the play. Pippin’s interaction with the nymphs provided further moments of humour, as he asserted his authority with various scratches and tickles from the obedient nymphs. Pippin’s projection of character cut through the love stories and added light relief amongst the lover’s fights and combat.

A bold decision was the choice to make Lysander a female character, depicting a homosexual relationship. This certainly gave a greater scope for the character of Egeus and allowed for his wrath to become full frontal. The audience were presented with a clear reason for his forbiddance of Lysander and Hermia’s relationship. This would have been even more interesting if given more time to develop and expand further, as I feel Keeble Watson touched on a theme which could have the potential to provoke an even greater impact.

Yet, in a long string of similar productions of Shakespeare’s A Midsummer’s Night Dream, Keeble Watson gave a new insight into how the play can adapted and altered which proved very interesting. She certainly turned RS1 into an enchanted forest for a good evening’s worth of entertainment.