I have seen many productions of Midsummer Night’s Dream performed in many different ways. But nothing quite like this one!

We are introduced to the play by Peter Quince, the leader of the Mechanicals (a wonderfully dry, George Fouracres), who gives us a rundown of the play, pointing out any similarities to our contemporary lives (‘it’s set in Ancient Greece – a bit like Brighton’) and of course, there is going to be a Royal Wedding. Then we are told that Bottom is played by a different celebrity actor every week and from clues, we start to guess who it might be. But in this anarchic world, things don’t always go to plan.

Quince it seems, is also part of the house band made up of the other Mechanicals, who accompany the play with a mixture of dance music and rock and roll. They mainly lurk, deadpan in the background, observing the action or adding to the atmosphere with their sounds and music. Sound is used to great effect, either simply with coconut halves for Bottom’s clip -clopping as an ass, or to represent the fairies with magical whooshes and piping voices.

This production is a collaboration between Sean Holmes, The Lyric Theatre, Hammersmith and Filter, and truly celebrates the fruitful relationship between an Artistic Director, a theatre, and an independent theatre company. Filter created and devised the piece exploring the interaction between sound, music, text and movement and ultimately make Shakespeare accessible to a wider audience. It was created in 2011 with a playful irreverence and has evolved through previous tours to become the joyous show we see today. This irreverence breaks down the barriers between audience and cast and we feel very much a part of the action, especially in a glorious bun fight and various appearances from the stage manager.

Harry Jardine plays a wonderfully nerdy Oberon dressed as a super hero (a fabulous marketing image) and Puck, played by Kayla Meikle is a suitably sassy oddjobber, complete with toolbelt and dungarees. We do get to see the main sections of the play, and many of the dialogues between the lovers in the woods and Oberon and Titania are intact and beautifully played. It all works whether you know the play or not.

Whilst we were warned of sexual references, (and yes, it is quite bawdy, but Shakespeare always was!) and mild violence, this is definitely a show for all – the ecstatic faces on the eleven -year old schoolchildren behind me said it all.   ★★★★☆    Karin Andre    16^th May 2018