Midsummer Night is a dream come true
SHAKESPEARE can be difficult to adapt well. Not just because the source material’s age can alienate some audiences, but because attempts to update it can feel at best contrived, or at worst toe-curlingly cringe-worthy.
Reading Repertory Theatre’s production of A Midsummer Night’s Dream, however, seems to dispense entirely with this problem.
To begin, we are introduced to six actors who have come to Reading in preparation for a jubilee event.
Immediately, the casual, breezy attitude that the production takes is clear as they spitball ideas and joke with each other.
Soon, the idea of the play is struck upon, and the acting troupe sets about an impromptu performance of one of Shakespeare’s seminal works.
And this play within a play perfectly sets the tone.
The production does not shy away from the source material, with a great deal of the original play’s dialogue untouched, but refuses to let any pomposity remain.
The framing gives the play a level of approachability, bringing all of the lively fun and cheeky back and forth that a Shakespearean audience would have enjoyed.
It brings this exciting, fizzing energy to the fore, making it easy to follow along even if the language can be offputting for some.
Each of the characters is set apart early on, and each is played with ready and engaging dynamism.
As such, not a single member of the small cast is wasted.
Oberon, played by Dave Fishley, is immediately arresting.
At times brash and physically playful, and occasionally bossy and overbearing, he is one of the play’s shining comedic assets, with more than a few laugh-out-loud moments.
This is matched by Amy Ambrose’s Titania, who brings an earthy, one-ofus relatability to her scenes, and brims with humour, especially when she is taking on the role of Puck.
Jonty Peach’s Demetrius goes in the opposite direction, playing on the theatre-kid haughtiness with an eminently likeable glee.
Charlotte Warner, who portrays Hermia, and Beth Eyre, who plays Helena, ground the play’s more airy tendencies with strong emotional performances.
Each cuts through to the more tender moments of the piece with ease, and without sacrificing the levity.
The cast is rounded out by Mark Desebrock, whose pivotal Lysander sells the change of heart at the centre of the play with a relaxed yet focused wit and a contagious sassiness.
Altogether, the cast does a fantastic job of capturing the essence of what a Shakespeare play ought to be: a raucous romp through a dream-like space purely for the enjoyment of those watching.
The players throw the production around, fully embracing the “half sleeping, half waking” qualities of the play in all of the best ways.
The set echoes this, with the entire play taking place in what is essentially an improvised space.
Resembling any drama studio after 4pm on a busy Tuesday afternoon, the set is vibrant enough to compliment the production, while giving only the bare minimum needed to suck you into the narrative.
Overall, Paul Stacey’s adaptation, with co-director Chris Cuming, straddles its obligations to both the audience and the source material with a dazzlingly precarious balance which doesn’t falter once.
While all of the most necessary parts of the original play are here, the rest is pure, lively, riotous, and celebratory, making it just as palatable and enjoyable as it ever has been– maybe even more.
It is clear that this is the last in the Rep’s current season, because the production plays like it has nothing left to lose any more, and wins all the more for it.
A Midsummer Night’s Dream is showing at Reading Repertory Theatre daily, except Mondays, until Sunday, June 5.
It is a family-friendly performance, though attendees are advised that there is one small instance of mild swearing during the show.
Tickets are between £14 and £25, with some available to those who can’t afford them as part of the theatre’s community mission.
Signed shows, relaxed performances, and touch tours are available.
To book tickets, visit www. readingrep.com.