A Midsummer Night's Dream

Director Peter Bottley had adapted the script well keeping all the necessary detail whilst using the 80s as a theme. A very imaginative staging of the production with the stage down the centre of the hall and the audience either side facing inwards almost became part of the action with the players inches away.  The floor of the stage cleverly depicted a wood with grass and patches of ‘dirt’. Gauzy and flowery arches either end complete with tiny lights created a fairy-like effect.and a colourful lighting design (Will Golding) created a nice overall ambience..  Sound (Peter Bottley) was well chosen and effects superbly well cued.  Congratulations to Costume Designer Trish Lloyd (assisted by Wendy Sanderson and Liz Davis) on the splendid and imaginative costumes.  Loved the wonderfully colourful selection of Dr Marten boots. Actually the magic began before the play, as ‘auditions’ were held for Pippa Quince’s play causing amusement as the audience took their seats.

At the outset I must say that the understanding of the text by this young cast was impressive delivering dialogue well with the right rhythm.  A general word of caution though: everyone speaks more quickly than they think and some dialogue was delivered rather fast. Also whilst it's good to be enthusiastic in a role loudly delivered dialogue still needs some light and shade.That said the production had very good casting which accentuated the different styles and talents of the various factions.

In Athens, Mali James as Theseus was believably authoritative in offering Egeus judgement and explaining the wedding plans to a worthy Hippolyta regally played by Elise Davis. Summer Appleton as Egeus a father wanting said judgement, gave a strong rendition with excellent diction and Max Gilham as Philostrate made much of his brief appearances..

The young lovers were very credible in their partnerships and exchanges:  Good strong performances from Afiya James as Hermia and Ilia Palmer-Masterson as Helena, equally matched by Charlie Stewart as Lysander and James Rowbotham as Demetrius. Hermia and Helena’s argument was excellent whilst Lysander and Demetrius garnered much humour from their pseudo-fighting.  An excellent quartet with some good comic timing.

The Mechanicals scenes are always eagerly anticipated and these Mechanicals obviously enjoyed their roles. Six rough workmen and colleagues have come together to put on a play for the royalty of Athens.  A play written by Pippa Quince - played by Orla Hilton who displayed her frustration with the Players well.  Justin Ramsbottom had the chance to play Nick Bottom (and Pyramus) and he threw himself into the role with much exuberance. Also in this play within a play we had Josh Wain as Flute who is forced to play the female role of Thisbe which he did well; Rebekah Bateman as Snout played Wall and she made the most of Wall’s few lines; Molly Hall as Starveling playing Moonshine explained her role with believable exasperation, and not to forget Ben Chapman as Snug whose roars of the lion were made louder by using a plastic jug to enhance the effect!  Good teamwork from this group.

On to the protagonists in the other world: a pleasing and clear-voiced Grace Warner as Titania was lovely, no nonsense from her in her quarrel with Oberon; and loved her fairies Carys Prosser, Bella Cox, Matthew Giles, Finlay Stewart, Florence Golding and Tom Kurkiewicz.  With fabulous make-up Alfie Collinge as Oberon certainly dominated as did his frustration with the Puck of Teagan Csepecz-Strong over the management of the magic spells, and she skilfully unfurled the many facets and twists and turns of the story, good relationships shown by these three in the woodland kingdom. 

Congratulations to Director Peter Bottley his Assistant Directors Andy Davis and Kate Wellman, the production team and cast: truly a very enjoyable experience.

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