The first thing that strikes you as you enter the lovely Apollo Theatre auditorium is the stage setting – a magical verdant wooded wonderland, fairy lights twinkling with promise of mischief afoot – and that promise was very much fulfilled…
Theseus and Hippolyta, played as a stately couple by Ian Moth and Chris Turvey, are looking forward to their wedding when an indignant Egeus (Colin Caldicott) brings in his daughter Hermia, to complain that she refuses to marry the man he has chosen for her. Setting the play on the 21st Century Isle of Wight means this demand does jar slightly, and our sympathies (along with Hippolyta, as she makes clear!) are totally with Hermia – apart from anything else, why would she not reject the apparently staid Demetrius in favour of a rock ‘n’ roll leather-jacketed Lysander who enters to his own theme music? In fact, the use of music to indicate character is a feature of this interpretation and often supports characterisation well.
Imogen Netherway is a very believable Hermia: strong-willed enough to stand up to her father, but exuding sweet innocence in her love for Lysander – and her misplaced trust in her friend Helena. Jessica Rockhill gives a lovely turn as Helena, hopelessly in love with Demetrius who in turn rejects her. The four young performers interact really well, especially in the conflict between the two young men. Harrison Hartup is a delightfully playful and charismatic Lysander, able to convey his thoughts with a look or a reaction, often to hilarious effect. Dominic Craggs’ Demetrius is a perfect foil, staid and serious until he is roused – or conjured – into indulging in comedy fights; the quartet provide many of the comedy moments of the play.
In contrast, Oberon and Titania enter to their theme music ‘Cold as Ice’ – and indeed, Jake Harrison’s Oberon is coldly dominant, while Titania, played by Lin Caldicott, and supported by her band of fairies, rails at him: their argument it appears is about a young Indian boy – played by Charlie Murphy – but as so often with married couples, goes much further than this. Oberon’s icy demeanour is also contrasted with Puck, played with humour, wit and a maturity beyond his years by Lorenzo McGrath. Puck turns cartwheels, strikes poses, runs offstage…the wrong way – all under the disapproving frown of his master.
But the comedy is not all in the hands of the young – the actors portraying the Mechanicals are, shall we say, slightly older than young Lorenzo and Charlie, and just as amusing, bringing their combined years of stage experience to their performances and updating Shakespeare by looking at a borrowed mobile phone to check the moon’s phase and making Bottom a Redcoat. Steve Taverner makes the most of this iconic role, especially as the hilariously badly-acted Pyramus. He is ably supported by Maggie Cardew as Flute / Thisby; Ellen Weeks as Starveling/Moonshine; Sarah Fowler as Snug/Lion and of course the redoubtable Michael Arnell, who makes Snout the gardener almost as hilarious as his other role of The Wall. Donna Thornall is a great Quince, embodying the director’s despair at getting this cast to rehearse.
Good use was made of the whole of the magical set, while lighting and the aforementioned musical interludes contributed to the story and costumes supported the characterisation well. But the success of; A Midsummer Night’s Dream’ really rests on the range of actors onstage, bringing such a variety of approaches, skills and experiences to the show. Well done to all involved.
