‘An artful and lyrical production delivered by a dynamic company, oozing with magic and chemistry’
The New Rep Theatre Company’s A Midsummer Night’s Dream invites audiences into an Athens set in the midst of a distant Woodstock-esque music festival. An aptly fairy-lit space beckons as the cast fills the stage in white, flowing outfits and flower crowns. The mood is set to lean into the ecstatic and substance-fuelled mischief that ensues in the tangled web of magic and mayhem amongst mortal lovers and faeries alike.
Pace and precision make Shakespeare come to life, and this company skillfully satisfies both. The plot is kept constantly in motion, driven forward by the young and energetic cast. Their impressive commitment to maintaining both momentum and meaning allows the beats of the overlapping character arcs to land clearly throughout. Every actor is switched on in their performance, delivering an unrelenting story.
This version of the text is decidedly lovers-led, which works beautifully. The scene work between the four lovers is agile and almost acrobatic in its direction. Married with electric pacing, New Rep crafts clear, enjoyable and distinct characters. Evie Butler shines in her turn as Helena. She carries an honesty and authenticity in her understanding of the text, delivered with heart and humour. Her excellent signposting through the language and effervescent chemistry with Hermia (Jamie Bunn) is a joy to watch.
Not far from this woodland love square lies a considered interpretation of the play’s supernatural underside. The creature-like physicality embraced by the cast and impressive ensemble work is remarkable. The faeries, in particular, feel wired like a well-oiled Greek chorus. They breathe and move as one, becoming an effective extension of Titania herself. The realisation of lyricism in the text through the movement and musical moments is key to this Dream absorbing us into its world.
Edward Neale’s performance as Oberon is a delight. His ethereal presence, coupled with a deft navigation of his speeches, is stunning. Notably, the power and weight found in his vowels unlock a further layer of musicality in the language, elevating an already assured performance. Lucy Blott’s movement as Titania is equally artful. Her chemistry with Oberon and feisty maternal strength in her initial speech set up expectations for more fiery, regal moments, which were disappointingly missed. Shakespeare gifts Titania some deliciously powerful imagery in her interactions with Bottom, which we never get to see. Her donkey-doting is brushed over, and she seems to be won over unsettlingly quickly by Oberon once her love spell is lifted. These cuts deny Titania the chance to step into her full potential as an equal and powerful opposite to her faerie king. A missed opportunity where cuts could’ve been better spent on a slightly drawn-out Pyramus and Thisbe ending.
Having said this, New Rep gives us an endearing company of mechanicals spearheaded by Bottom the weaver. There is no doubt in Jack Gogarty’s command of the stage as Bottom, with plenty of puns and bits galore. However, a modern ad-lib too many tripped up an otherwise very entertaining performance.
Overall, this is a fantastic version of a much-loved classic encompassing all the magic, mayhem and mischief it deserves, driven by a committed and seamlessly cohesive company. A must-see!