4 – 21 March

The simple reversal of the single letter ‘R’ in the word ‘DREAM’ within the title on the programme cover tells you much about the Headlong theatre company’s approach to Shakespeare’s witty tale of fairy magic and its effect on three would-be couples. A tiny typographical subversion it might be, but it is cleverly indicative of a story laced with instability.

Frank Peschier, dramaturg, says, “At Headlong, one of our North stars is treating the (Shakespeare) canon like work that landed on our desk today.” In this spell-binding and mesmeric re-telling directed by Holly Race Roughan and co-directed by Naeem Hayat, the original story has been taken to a darker place where toxic, sometimes psychopathic masculinity and a disturbance of the natural world are explored by a brilliantly attuned cast oozing self-confidence and sharpness in delivery. The unashamed patriarchal power of today’s autocrats and the world’s faltering climate are writ large in this production, which has at times loosened the constraints of the original text to make the point.

Stepping out onto Max John’s all-white set adorned with hanging candelabra – Sergo Vares gives us an extraordinary, other-worldly Puck – white faced, wearing white tutu and tights, torn black tailcoat and one long black leather glove, he drips insouciance before his fairy powers are later given emphasis by percussive hits and pulsing light. Vares’ odd physical contortions and his mad-eyed look are enough to convince us we are in a very strange space, where the unexpected is always imminent, as he goes about doing his master’s bidding with mixed results.

Michael Marcus plays both Theseus, Duke of Athens and Oberon, King of the Fairies. Both exhibit the desire to be in total control of hearts and minds, so that segueing from one role to the other proves apposite. Hedydd Dylan as Hippolyta, Queen of the Amazons and later as Titania is by turns a reluctant and decadent fiancée then a scintillating Goth sprite adorned with black bustier with silver scorpion clasps. Having ‘won’ his bride-to-be by force, Marcus’ Theseus continues to show an unrestrained sense of entitlement, relishing the opportunity to bully his kitchen staff.

Lovers Lysanda (David Olaniregun) and Hermia (Tiwa Lade), Demetrius (Lou Jackson) and Helena (Tara Tijani) all fulfil Shakespeare’s bonkers trajectory with intensity. Lade and Tijani, particularly, standing out during their hilarious take down of each other while the fairy potion has taken hold and confusion reigns.

The fairies of the forest appear as ballerinas in black tutus with the exception of the mesmeric Dannie Harris, a dancer in pink whose gentle movement serves as a foil for the darker powers pushing down on the story. The Mechanicals, originally a carpenter, weaver, bellows-mender, joiner, tinker and tailor are here reduced to Peter Quince, maître’d (Jack Humphrey), waitress Flute (Pria Kaisi), and coke-snorting, executive chef Bottom (Danny Kirrane). Humphrey paints Quince as a man on the brink of a nervous breakdown, stressed out at having to appease his master. Concerned lest their concluding Am-Dram play will go down well with the Duke during his wedding celebrations, the Mechanicals have nevertheless underestimated his impatience. The end is a shock, but is Headlong’s prerogative, one they have grasped with bells on.

★★★★★. Simon Bishop, 6 March, 2026

Photography credit:  Rich Lakos