A Midsummer Night's Dream

Director, John Kirk, clearly ignored the famous adage attributed to WC Fields, namely ‘never work with children or animals.' Not only was there a wide age range on stage, but there was also a cute, well-behaved dog, who joined the Rude Mechanicals in their play performed for the nobility. A Midsummer Night’s Dream is, arguably, one of Shakespeare’s most popular comedies and suitable for all ages, thus making it a good choice for family entertainment. It being a Saturday night at the end of half term, it was rather disappointing to be in an audience of around fifty-five with no children or young adults in attendance.

The welcome from the CAODS team was as warm as ever. The tabs were closed but the apron had been splendidly dressed in a vibrant floral display and netting on one side and a Royal Box on the other.

The programme was well presented and colourful. With a cast totalling twenty-eight, the main players were displayed with their photos and character names whilst the fairies were captured in a group photo. Additionally, there were lovely photos of the cast on stage which had probably been taken during a dress rehearsal.

This popular Shakespearean comedy of love, mischievousness, fairies and confusion was set in the 1940’s and the costume team delivered to the usual high standard. The fairies looked delightfully pretty in their colourful dresses; the four lovers wore clothes that allowed them to move freely and ‘sleep’ on the floor without getting tangled up. The workmen, before their performance, were suitably attired in their predominately brown clothing which complemented the costumes of the other more colourful characters.

The whole theatre was utilised which always enhances the general atmosphere and gives a more intimate feel, which in turn allows the audience to be drawn into the action when actors pass through the auditorium. At the same time, it helped to differentiate between the court and the wood and the space within both settings.

The set was very well designed and allowed for not only intimate space but also to give the sense of the vast woodland. The use of florally decorated arches, for entrances and exits, was both attractive and practical. Titania’s arbour was strategically placed to be unobtrusive but was nevertheless appealing, attractive and at the same time looked comfortable and inviting. Well done to the set construction team, namely The Wednesday Crew. The lighting was extremely effective, particularly the green hues which enhanced the magical scenes with Titania and her fairies in the wood.

The cast was strong and were able, in the main, to deliver the wordy, and at times, difficult speeches with clarity and good diction. Projection from everyone was clear and all could be heard from the back row. There was also some good singing and dancing carried out with enthusiasm and accuracy, which is no mean feat considering the size of the cast.

The young lovers were convincing, particularly Hannah Brewer, who gave a strong performance, bringing out the passion and determination of Hermia. Kate Chandler was believable as the quieter, wistful Helena. Credit must go to Tom Worsley, whose energy and sauciness encapsulated Puck superbly. The Rude Mechanicals were comical. Mention should go to Karl Whitmore who really made a wonderful Thisbee with his energy and timing complementing his huge wig and vibrant gown. Julian Gabriel Clark carried off his role as Bottom well and was hilarious when performing as a donkey. The whole cast worked well together and should all feel very proud of themselves.

This was an enjoyable production and hopefully not the first and last one that John Kirk will direct. Well done to everyone involved in yet another successful run.

The CAODS team are always up for a challenge and offer a diverse range of genres. The Isle of Wight is lucky to have them and long may they continue to entertain.

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