A Midsummer Night's Dream

Very innovative and imaginative staging of the production with the stage as the ‘aristocracy and fairy’ area and that central staged acting area for the ‘lovers and rustics’ and the audience facing inwards as part of the action with the fairies moving amongst us; and the set on stage very ‘Rousseau primitive’ and atmospheric, beautifully painted, all helped by the differing acting areas lighting.

David Ross had very good casting to accentuate the different styles and talents of the various factions: strong and aristocratic with authority Christon Sharpe as Theseus in offering judgement and the wedding plans to a worthy Hippolyta (Elizabeth Agar). A father wanting judgement, the Egeus of Ian Cashmore a very strong rendition as he demanded of his daughter, excellent diction and anger shown. The lovers were young and of the correct age and so credible in their partnerships and exchanges: what a joy to have Charlotte Waller, Cerian Ellson, Josh Duckmanton, and Jamie Morris as Hermia, Helena, Lysander and Demetrius, this made such a difference to the play with these relationships.

The Mechanicals were a triumph of timing and comedy and yet the rough workmen and colleagues who were trying for the play written by Peter Quince (Roger Burford), and how he dealt with his friends in persuasion, how every word and gesture was acted by him as he directed the action of the play, delighted that he returned to give all the pleasure of his talents. Neil Ellson had the chance to play Nick Bottom and he did not miss a trick, his pantomime experiences to the fore, on working with his mates in the play-within-a-play well timed and his reactions on seeing Titania and the fairy world very well contrasted. And within this play, how very good Charlie Sheppard and Lesley Dillon as Flute and Snout and Pyramus and Thisby, very OTT melodramatic and funny; and not to forget the ‘bush, moon and dog’ from Pat Bryant as Starveling, and the roars of the lion from Lyndsey King who must have roasted in that costume. The play performed centre hall amongst the audience towards the aristocrats on stage was indeed a celebration.

And the protagonists in the other world: a pleasing and clear-voiced Chloe Morris as Titania with extreme and attractive make-up, no nonsense from her in her quarrel with Oberon; and loved her delightful fairies. Paul Reynolds working his spells and demanding the stage as the king, his Oberon certainly dominated as did his frustration with the Puck of Jean Clarke over the management of the magic spells, and she whirled us around the story and unfurled the many facets and twists and turns,  good relationships shown by these three in the woodland kingdom.

The atmosphere created, the magic begun before the play, those singers on the balcony who worked so hard with all those lovely folk songs were the icing on the cake in the creation of this imaginative production by David Ross: truly a very good experience.

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