With its woodland setting, its noble protagonists and its fairies, burlesque humour, lyricism and of course, dreams, it is easy to see why A Midsummer Night’s Dream is one of the top three of Shakespeare’s plays being produced today.

And what a production this is.

Director David Lawrence has created, together with the actors, a fast paced, energetic, humour filled show which picks the audience up and carries us through all the shenanigans of Oberon and Titania, King and Queen of the Fairies, squabbling over the possession of a changeling child, where Bottom and his country players put on an entertainment and where star-crossed lovers are allowed at the close, to finally fall into each other’s arms.

This company of eight players, dressed in a combination of traditional and modern costumes, are a huge delight.

Unfortunately, Kevin Keys is unable to play Theseus/Oberon at this showing due to Covid so Director David Lawrence steps into the breach seamlessly and the play gets off to a very smart start with clear and loud diction which continues from all the players who uniformly give intelligent readings of their lines.

Alice Pearce as Helena, Natasha Daniel as Hermia, Bala Murali Shingade as Lysander and Tyler Wilson-Kokiri as Demetrius almost steal the show.

They each take their character, which in some productions I have seen have been surprisingly insipid, by the throat and squeezed every ounce of nuance and humour from the lines and the situations causing the audience to hoot with laughter or sigh with sympathy as these clever players play the audience. 

The scene where the two men vie for Helena’s affection is full of robust physical comedy from all four players and the use of the white shirts to titillate is very funny. 

Kirsty Bruce is perfect for Hippolyta/Titania.  With a strong stage presence and imperious look, Ms. Bruce is able to also show an enchanting soft and sexy side and charming humour when dealing with Bottom the ass.

This play’s success can ride on the performance given by the actor playing Robin Goodfellow, a puck. Here, Frith Horan nails it. A very expressive face matches her eloquent reading of her lines together with her physicality, captivates and entrances us. 

Jehangir Homavazir is fabulous as Bottom. This role is a dream role for an actor and Mr. Homavazir makes it a show stopping, scene stealing one. Loud, robustious and with an attraction that seems to captivate all around him, this is a star turn.

The crowning glory of the play is the play within, performed at the marriage celebrations. 

The players playing other major roles also double as the Mechanicals, creating slight mayhem with costumes and props while performing “Pyramus and Thisbe”.

Brilliantly directed to extract every coarse acting effect in the coarse actors’ repertory, this has the audience crying with laughter. When Tyler Wilson-Kokiri as Thisbe chokes him/herself with the scarf, tears are running down my cheeks.

To the people who go “Oh, Shakespeare? No thanks”, go and see this totally captivating show. It will change your mind. 

Long live Pop-Up Globe!

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