Ever since Peter Brook’s 1970, ‘white cube’ production, which threw attention back on the language, directors have been released from the constraints of bosky, moonlit woods. This production is well conceived. Director Eleanor Rhode and designer, Lucy Osborne, embracing the freedom, have given us a modern day conception set in little more than a space filled with kaleidoscopic paper lanterns. And yet this is a space of wonders, a place where dreams become corporeal, a space where excited teenagers can play out their love fantasies and the titillating suggestion of transgressive coupling is muted by comedy.

Theseus (Bally Gill) in a modern suit, played as a something diffident, don’t-speak-until-you’re-spoken-to, everything seems knotted up inside, ruler of Athens, is marrying out of his depth and is destined to be ruled by his Amazonian betrothed (Sirine Saba) who (heaven knows how) he has recently defeated in battle. Mr Gill doubles as a Glam Rock Oberon who finds himself in a not dissimilar battle of wills with Titania (Sirine Saba again).

This is a strong cast with a couple of stand out performances.  Mathew Baynton plays Bottom with traditional enthusiasm and over-eagerness coupled with a slight know-it-all swagger. Mr Baynton has that rare talent of being able to let us know what he is thinking, allowing us the delight of being half a step ahead.  Then we have Premi Tamang (standing in for an indisposed Rosie Sheehy) who as Puck is very definitely puckish, zipping around the stage, nimble and whippet-like and delighting in the mayhem she causes. 

The mechanicals are a joy, individually and as a group. Their dumb show, which is directed and played straight, enjoys the payoff of a laugh a minute at their earnest incompetence. The lovers, all eagerness and swagger in the boys are up against the pocket thunderbolt that is Hermia (Dawn Sievewright) and a thwarted, but feisty Helena (Boadicea Ricketts) who might have stepped off the set of Eastenders.

Lighting and video design are creatively conceived, enhancing the sense of a magical place, whilst John Bulleid has designed some clever stage illusions that bring satisfyingly head scratching illusions to the stage. Music and sound are equally created and used to good effect.

The production embraces the magical realm of dreams whilst leaving us with the idea that whilst Egeus (Neil McCaul) and Oberon try to meddle with nature in relation to natural human emotions, things will likely go awry and so we frustrate it at our peril.

★★★★★    Graham Wyles   14 February 2024

Photo Pamela Raith (c) RSC