Director Erica Whyman has magic-ed Shakespeare’s Dream into a fast, furious and imaginative fun fiesta. And to judge from this Stratford performance it will radiate national delight as it tours from March, supported by fourteen am-dram companies and armies of children turned into fairies.
Appropriately for a production seeking a communal zeitgeist for today, it is located in a bombed out theatre in WWII. And the mystical subversion of a moonlit forest is largely forgone as the set, dominated by a grand piano and a moveable staircase, changes to resemble a nightclub. Another setting that often plays havoc with lovelorn minds.
A story of comic twists and turns which proves ‘what fools (we) mortals be’; begins as Theseus of Athens and Hippolyta, defeated Queen of the Amazons, organise their wedding.
A nobleman interrupts to insist upon the legal penalty of confinement in a convent or death for his daughter Hermia, if she refuses to marry his choice, Demetrius.
She loves Lysander and they flee intending to wed beyond the city limits. They are pursued by the lovesick Demetrius and by Hermia’s friend Helena, who adores Demetrius.
Add a bitter dispute about a changeling child between the King and Queen of the Fairies, involving the King’s mischievous spirit Puck, and the proximity of Bottom and other Athenian workers rehearsing a play, and the possibilities for confusion are infinite.
The production majors and majors splendidly on those comic incidents. aided by Sam Kenton’s jazzy and frequently onstage music. Affections switch violently at the drop of a globule of magical flower juice into a sleeper’s eyes.
Perhaps though the introduction of so much comic physicality is at the expense of some of Shakespeare’s most lyrical poetry. And of his fascination with that madness and refusal of brain and senses to connect, known as falling in and out of love.
The pace rarely leaves pauses for thought, but the reconciliation of the royal fairies is given emotional space and is all the more moving and tender for it.
Amongst the many positives though are the involvement of amateur actors; on this occasion from The Bear Pit Company. With delicious and knowing irony they play amateurs preparing the ‘comic tragedy’ of Pyramus and Thisbe for the royal wedding.
As Bottom, David Mears was all bouncy jollity and expressive gesture. He began over the top and kept climbing. And if that was at the expense of his character’s grounded common sense, it was also wildly funny.
Whilst Dominic Skinner as a bearded heroine, Roger Ganner as the nominal director and the whole troop shone out with comic invention. Interestingly, the amateur element will bring marked variations to each theatre.
The small army of child fairies too adds to the charm and choreography, of a show which captivates with its zest for life, and as a nice touch a few children wear WWII evacuee labels.
From the eighteen professional actors Chu Omambala stands out as Oberon the fairy king, dressed in a chic white suit and mixing gravitas and menace to subdue his stunningly glamorous queen (Ayesha Dharker).
Whilst Lucy Ellison, all top hat, upstanding hair, music hall eccentricity and cheeky movement, makes an engaging Puck.
‘The Dream’ is the play which wins many a young person to Shakespeare and this production, especially if its poetic depth grows in performance, should bring many to the fold. ★★★☆☆ Derek Briggs 26th February 2016
