A Midsummer Night’s Dream

When you walk through a decorated woodland path, past singing villagers dressed in clothing of the 16th Century, over a fairy bridge where colourful fairies, elves and sprites play and dance and wave at you, then up into a beautiful playing space surrounded by trees and hedges on a beautiful summer’s evening – it's as if you are walking back in time towards Shakespeare, and almost expect him to be there to introduce the play in this enchanting and enchanted place. So starts the Millenium Players outdoors production of A Midsummer Night’s Dream. 

The three separate overlapping story elements of this play have never been clearer in distinction as they are in this. It’s as if Director Sarah Cannon had a conversation with Will himself, interviewing him, and understood that he never visited Greece, so the Athenians are almost lofty and imagined, as you would imagine he thought of them, never having met them. Yet the Mechanicals are earthy and real townsfolk that he would have met every day; and have been realised with such authenticity to medieval times in their appearance, manners and interactions with each other that it was an utter joy to watch. The fairy folk look as if they have been carved out of the woodland itself, really embodying and encapsulating the whimsical nature of the creatures as written, with their extreme attitudes and flighty emotions. And yet these three very distinct pieces overlap easily, beautifully balanced, never jarring: which is a combination of the writing and of Sarah’s Director’s vision. 

The detail in the costumes, especially in the Fairy and Elf folk world, is extraordinary. The head-dresses especially with moss are a lovely touch. Plus, each costume and headdress is unique and attuned to their character name: Cobweb with little cobwebs in her dress and hair, equally Mustardseed and Pease Blossom with their names evident in their clothing. As it started to get dark, the headdresses lit up with literal fairy lights which was beautiful. Sarah Cannon’s director vision clearly extended to all the costumes as well as she had been making them for over a year. Zoe May, as Titania, made her own costume which was stunning, looking as if she’d used the woodland to clothe her, in grassy bodice and floaty leafy skirt. Her translucent delicate fairy wings also lit up with fairy lights which was gorgeous. There was nothing over the top or gaudy about any of it: it was subtle, appropriate, and very beautiful. They also all had various fairy sprite painted faces which was lovely, and Titania as the Queen of the Fairies had jewels and silver tresses in her beautiful cascade of hair.  

This is a stunning realisation of one of Shakespeare’s most beloved plays. The transitions between scenes and acts are smooth and fluid, keeping the momentum of the play going and ensuring that none of the audience lose the spell of the dream they are in. Where the three stories change a troupe of villagers walked through with lute, violin and singing in harmony, to move the story to the next episode. All the songs are authentic: one from 13th Century in canon and a round, two from 16th Century, and one using Shakespeare’s words from the play: the “Fairy Lullaby”, with specially composed music by Carine Roberts which adheres to the styles already used. It has been realised with such care and respect it’s incredible. The song at the end in canon and round sung by all the cast at the bows was utterly gorgeous. 

Such attention has been given to folklore as well in this, incorporating the Green Man, and the rings of mushrooms and toadstools as fairy rings in the playing space. The seating is tree stumps covered in moss, the only other item is Titania’s Bower, with floating sea curtains as if they are a waterfall, and a grass bed with flowers which is almost a chaise longue. There are so many details and additions in this production and every one of them works.  

In her introduction in the lovely programme, which also contains some fascinating information, Sarah says she wants to bring Shakespeare to younger actors as well, and the fairies and elves – all very young children, all do incredibly well, staying in character and saying their lines often together. It is an enormous cast, so would be difficult to mention everyone, however there are some fabulous performances, including every single one of the Mechanicals. Jack Jackson Humphrey is absolutely hilarious as the ego driven Bottom, wanting to play every part, and quite literally doing the most elongated mock Shakespearean death as Pyramus that the audience were guffaw laughing. His physical humour as well as comedy timing is superb, as is Sally Ruane as Robin Starvelling, whose facial expressions and physicality added to the hilarity. Kate Peckham was gorgeous as Snug the Joiner, making the role hilarious and memorable when it sometimes isn’t. David Severn as Flute and then Thisby was super, Louis Roberts was a great contrast as Tom Snout and later Wall. And Carine Roberts as the poor Petra Quince (also Musical Director and Composer) who was trying to co-ordinate this bunch and players whose egos didn’t want to let her tell them what to do, was super as the harangued director and writer trying to please or accommodate everyone: every director in the audience recognising themselves in her portrayal. 

The ‘Lovers’ were much younger than they are normally cast but curiously this worked well, almost as if Shakespeare intended it that way. Annette Kwok showed lovely vulnerability in her portrayal of Hermia, garnering much sympathy, which was a great choice, as sometimes this character can be quite haughty and spoilt: this version is better. Evie Doherty was lovely as Demetrius too: subtle yet firm. Jo Lawrence made a lovely Hippolyta, gentle and caring and sensible, and Benjamin Craven was a lovely Theseus to match her, his reaction to the players ‘play within the play’ was especially funny. Ashleigh Johnson was a fabulous Puck, always in character wherever she is in the playing space, reacting and observing. She effectively bosses the other fairies around and is generally more feisty than we are accustomed to seeing our Puck, not always deferential to Oberon her master which is an interesting choice: cheeky, flighty and interesting to watch. Matt Hinton as Oberon was a beautifully contained in portrayal rather than outwardly bombastic which is a really great choice. He and Zoe May as Titania have a lovely dynamic.  

This is a beautifully realised production where every single person involved has created such a wonderful atmosphere, they all look like they are enjoying it immensely and are putting everything into it. Sarah Cannon’s leadership of this massive ambitious undertaking is to be congratulated and applauded: the respect, care and love for the play is evident in every single aspect. As the glowing fire-torches guide the audience out of the woods, we all know this is a play that has left its dreamy imprint on us all and will for a long while to come. 

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