Bravo to this young company of actors, directors and musicians who have taken on Shakespeare’s A Midsummer Night’s Dream, turned it into their own sort of story and perform it with joyous exuberance.

In addition, this project sought to encourage a wider understanding of all aspects of theatre making. Many of the actors had additional tasks such as the marketing or design, creating the set or running workshops that led up to this production – an all-immersive process. They collaborated and they were mentored as part of the process. If it is possible for an audience to feel camaraderie of a tight and happy team, then the magic of this dream is palpable.

The large and youthful ensemble aged between 14 and 19 years, came from four different Palmerston North schools and certainly all of them have developed the performance bug. Many have encountered theatre and Shakespeare before, such as through studying speech and drama, Theatresports, school productions, youth theatre, the SGCNZ Sheilah Winn Shakespeare Festival or New Zealand Young Shakespeare Company. These experiences no doubt have led to the confidence with which these young actors hit the stage.

This A Midsummer Night’s Dream is set in a private school in the 1950s so that social mores and the rules of interaction are more conservative and contrast with the fairy world of dreams. While the Globe theatre is essentially a proscenium arch style theatre, this set is on the stage and in the auditorium. The audience, while mainly in the auditorium, are also seated on the stage. Actors use the whole theatre and the action can take place from any direction. Running from stage to floor, using the median aisle of the auditorium, entering in through doors and out through wings, is undertaken with great confidence and energy. It certainly brings the theatre alive and helps capture and keep attention.

Shakespeare’s plays use a lot of words by today’s standards. The speeches are long and complicated and the challenge and essence for any actor is to say them with clear meaning, intent and diction and delivering as though they are normal speech. On the whole this ensemble manages that huge challenge even within the speed at which they deliver.

The standout is Matthew Wongchoti as Bottom, who combines superb physical expression with clear nuanced monologues. His dying scene in the ‘play within the play’ at the end, is wonderful. Henry Bovey as Demetrius and Isaac Fox as Lysander, are strong and confident but also have the audience roaring with laughter in their very creative fight over their beloveds.

But all the other actors are strong, loud and confident: Jacob Tū Pene-Waugh as the mischievous Puck, Sophie Hurnard as Theseus and Moth, Lauren Alexander as a proud Titania and Hippolyta, Jesse Franks as a confident Oberon and Snug, Brooke Wilson as Snout and Peaseblossom, Jonathan Stone as Peter Quince, Hawi Pere as the madcap all dancing Flute and Mustardseed and Louis Barnes as Robin Starveling/the sullen silver clothed moon and Cobweb.  

Helena, (Phoebe Driscole) and Hermia (EJ Buckingham) are confident characters as the young beloveds with very forward views of their partners, however, they scream a little too often and should think about achieving strong dramatic voice projection that is safer on the vocal chords.

Another aspect of this production which keeps our fascination and the momentum at a good pace, is the music, especially composed by Saem Millward and played by Scott Sun on trumpet, Stanley Pettingill on violin and Saem on keyboard. Saem includes musical jokes such as the theme from Rocky and the 1958 ‘Tequila’, which is used here as a well-placed mad and vibrant all cast dancing episode, in the second half. 

The set (EJ Buckingham) works well with a few simple school desks and a blackboard suggesting the school and some very large well-placed flowers, branches and a net suggesting fairyland.

Director Eli Hancock originally set up Shakespeare’s North Productions with Jacob Tū Pene-Waugh and Gabby Clark in order to fundraise for a Shakespeare related trip to London but the project continues, bringing more Shakespeare to life and providing new opportunities for young actors to learn challenging theatre craft. Once again Palmerston North keeps up its long tradition of being an excellent training ground for performing artists.

This is a midsummer night that oozes exuberance! Hearty congratulations to all involved for all that you have achieved. 

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